THE JOURNAL FOR LIVE EVENT TECHNOLOGY PROFESSIONALS JANUARY 2020 | PROSOUNDWEB.

COM

MORE CAN BE THE WIRELESS/RF STATE OF THE UNION

IN 2020

MUCH MORE
INSIDE

LOOKING FURTHER INTO ALIGNMENT

BETWEEN MAINS & SUBWOOFERS
Loud, proud, and unmediated audio ANSWERING A KEY QUESTION WHEN MIXING
reigns with the Black Keys. MONITORS FROM FRONT OF HOUSE
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 In This Issue JANUARY 2020 | VOL. 29, NO. 1

FEATURES 20
16 MORE CAN BE MUCH MORE Loud, proud, and
unmediated audio reigns with the Black Keys.
BY GREG DETOGNE
38 TAKING THINGS AS THEY COME The diverse career
of multi-disciplined audio professional Suzy
Mucciarone. BY KEVIN YOUNG
54 SIGNIFICANT DEPLOYMENTS Recent applications
from several locations around the globe.
BY LIVE SOUND STAFF

DEPARTMENTS
12 REALITY CHECK A key question when mixing
monitors from front of house. BY ALEŠ ŠTEFANČIČ

16 46
20 BACKSTAGE CLASS Best practices in developing
input lists and stage plots. BY ERIC FERGUSON
26 GIG SCHOOL Bold directions: the future of stage
monitoring. BY BECKY PELL
30 PERSPECTIVE Using what you know to understand
things you don’t. BY IKE ZIMBEL
36 BUSINESS MATTERS Lessons in organization and
efficiency on the job site. BY PETER JANIS
42 SPOTLIGHT A veteran’s guide to going along, getting
along, and consistent success. BY CARL STEWART
48 INSIGHT The final chapter in the discussion on
doing theatre sound on a budget. BY GEORGE GEORGES

EQUIPMENT
8 LOADING DOCK New apps, switchers, software, cone
drivers, interfaces and more.
10 SPECIAL REPORT The wireless/RF state of the union
in 2020. BY JAMES STOFFO
32 ANALYZE THIS Looking further into alignment
between mains and subs. BY MICHAEL LAWRENCE
46 FIRST LOOK Inside new Staten Island-based
loudspeaker manufacturer 1 SOUND.
BY LIVE SOUND STAFF
52 ROAD TEST Evaluating a digital mixer and its
latest firmware update. BY SAMANTHA POTTER
56 TECH TOPIC More fundamental FIR filter concepts
and applications in loudspeakers. BY MICHAEL JOHN
59 REAL WORLD GEAR Recently developed compact 12
digital mixers and consoles. BY LIVE SOUND STAFF Live Sound International (ISSN 1079-0888) (USPS 011-619), Vol. 29 No. 1, is published monthly
by EH Media, LLC, 111 Speen Street, Suite 200, Framingham, MA 01701 USA. US/Canada/Mexico
subscriptions are $60 per year. For all other countries subscriptions are $140 per year, airmail.

IN EVERY ISSUE
All subscriptions are payable by Visa, Master Card, American Express, or Discover Card only. Send
all subscription inquiries to: Live Sound International, 111 Speen Street, Suite 200, Framingham,
MA 01701 USA. POSTMASTER: send address changes to Live Sound International, PO Box 989,
Framingham, MA 01701. Periodical Postage paid at Framingham, MA and additional mailing offices.
6 FROM THE EDITOR’S DESK Reproduction of this magazine in whole or part without written permission of the publisher is
prohibited. Live Sound International® is a registered trademark of EH Publishing Inc. All rights
64 BACK PAGE reserved. 2020 EH Media, LLC. Check us out on the web at [Link]

4 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

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Lou Mannarino, L&M Sound & Light, 1 SOUND
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From the Editor’s Desk
Happy New Year! We begin this new JANUARY 2020 | VOL. 29, NO. 1
12-month cycle the way we concluded the Live Sound International
previous one – an issue that’s chock full of 111 Speen Street, Suite 200, Framingham, MA 01701
content on a wide range of professional 800.375.8015 | [Link]
audio topics. First up, James Stoffo pro-
vides an overview of the constantly evolving PUBLISHER Kevin McPherson, kmcpherson@[Link]
wireless/RF landscape, bringing us up to EDITOR-IN-CHIEF Keith Clark, kclark@[Link]
speed with what’s happening now and what SENIOR EDITOR M. Erik Matlock, ematlock@[Link]
to expect moving forward. SENIOR CONTRIBUTING EDITOR Craig Leerman
Speaking of looking forward, Becky Pell, as a follow-up to her cleerman@[Link]
look at the history of stage monitoring in the previous issue, now TECHNICAL EDITOR Michael Lawrence
turns her gaze in the opposite direction with her take on the michael@[Link]
future of monitors. She focuses on both ongoing and near-fu- TECHNICAL CONSULTANT Pat Brown, pbrown@[Link]
CONTRIBUTING FEATURES EDITOR Phil Garfinkel
ture technologies that will provide engineers with an expanding
[Link]@[Link]
toolkit in their work with delivering mixes to artists.
PRODUCTION DESIGNER Samuel Clark, sclark@[Link]
Eric Ferguson goes old school, exceptionally detailing best CONTRIBUTORS: Aleš Štefančič | George Georges | Peter Janis
practices in developing input lists and stage plots. These aspects Carl Stewart | Michael John | James Stoffo | Eric Ferguson
of the job might seem mundane but doing them well (or not) Samantha Potter | Ike Zimbel | Becky Pell | Karl Winkler
can go a long way to determining the success (or not) of a show. Kevin Young | Greg DeTogne
Meanwhile, Michael Lawrence continues to probe more deeply
into the key element of time alignment between mains and [Link]
subwoofers. Be sure not to miss it. EDITOR-IN-CHIEF Keith Clark, kclark@[Link]
Kevin Young checks in with an excellent profile of multifaceted SENIOR EDITOR M. Erik Matlock, ematlock@[Link]
audio professional Suzy Mucciarone, who, suffice to say, doesn’t PRODUCT SPECIALIST Craig Leerman,
cleerman@[Link]
seem to sit still for long. She’s had quite the journey, as you’ll
WEBMASTER Ernie Black, ernie@[Link]
see, and there’s still a long, interesting road ahead. Our thanks
to George Georges as he concludes his 3-part series on attaining ASSOCIATE PUBLISHER Jeffrey Turner
success in theatre sound on very little (and sometimes no) budget. jturner@[Link] | 415.455.8301 | Fax: 801.640.1731
His experiences and the resulting approaches he’s developed over ASSOCIATE PUBLISHER ONLINE Mark Shemet
the years are invaluable in all audio markets, not limited to theatre. mshemet@[Link] | 603.748.4067 | Fax: 603.532.5855
Also be sure not to miss Karl Winkler’s words of encouragement PRODUCTION & CLIENT SERVICES MANAGER Jason Litchfield
on the Back Page of this issue, encouraging the more senior members jlitchfield@[Link] | 508.663.1500 x226
of the industry to help show the younger folks the way forward.
And as always, there’s much more. Enjoy the issue. Circulation and Customer Service inquiries should be made to:
Live Sound Customer Service
EH MEDIA, LLC
Phone: 978-671-0449
Fax: 978-671-0460
Keith Clark cs@[Link]
Editor In Chief, Live Sound International/ProSoundWeb 111 Speen Street, Suite 200
kclark@[Link] Framingham, MA 01701

EDITORIAL AND READER SERVICE RELATED EMAIL ADDRESSES

Circulation & Subscriptions | circulation@[Link]
Loading Dock Submissions | kclark@[Link]
World Wide Web Inquiries | webmaster@[Link]
On The Cover: Engineer Jason
Advertising Rate Information | adinfo@[Link]
Tarulli at front of house prior to
a recent show on the Black Keys REPRINTS: Wrights Reprints
concert tour. As Michael Lawrence ehpub@[Link] | 877.652.5295
notes, it contains “lots of eye
candy for the gearheads.”
ProSoundWeb
Photo Credit: Steve Jennings
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Waves Audio MyMon Dynacord SONICUE Version 1.1

A personal monitor mixing app (iOS/Android) The latest version of the company’s sound system software is optimized for
for the company’s eMotion LV1 live mixer that the specific needs of smaller systems and day-to-day applications. It now
provides musicians on stage with direct control of supports Dynacord L (live) and
their mon- C (install) Series amplifiers and
itor mixes, includes an update to its Elec-
including tro-Voice loudspeaker settings
adjustment library that applies to almost all
of input current commercial, portable,
levels, mute, install and concert models, such as
pan; apply- ZLX, ELX200, EKX and ETX portable
ing post-mix products and the EVID commercial family. Version 1.1 also incorporates a firm-
EQ; linking ware 2.0 upgrade for both the L and C Series that expands the user DSP block,
channels to doubling it to offer 10 bands of parametric equalization (PEQ), enhanced array
custom single-fader groups; and customizing with processing functions that include five additional bands of PEQs, and dedicat-
the built-in master bus EQ. Any combination of ed array delay. The update is available as a free download from the company
channels can be assigned to four LINK masters, website. [Link]
each with volume and mute toggles. MyMon can
connect up to 16 mobile devices simultaneously RME ADI-2 DAC FS
to an eMotion LV1. The interface is designed to be The latest edition of the ADI-2
musician friendly, offering swipe navigation and DAC USB audio converter and
double-tap reset functionality. [Link] headphone amp includes the
company’s proprietary Steady-
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to offer very low jitter and very high jitter immunity, along with optimized
performance in all clock modes and quality analog conversion. New addi-
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headroom stated as 2.5 dB and an extended infrared remote control. The IEM

Radial SW8-USB output has also been improved. [Link]

An auto-switcher and USB interface that facil-

itates switching between redundant playback d&b audiotechnik R1 Remote Control
systems on stage. Dual USB inputs with separate Upgrades
24-bit/192 kHz converters allow two computers to The company’s optimization
be connected in tandem, so digital workstations software now includes two new
on both machines can connect to the SW8-USB as facets. Upgraded CPL (coupling) for
an audio and MIDI interface. Start/stop synchro- SL-Series line arrays provides the
nization is also possible between both computers ability to shape both LF and low-
through MTC. The auto-switching feature detects mid response independently, with
dropouts and switches to the backup computer individual controls. In addition,
instantaneously. The unit also includes line level new Temperature Humidity Control
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Both 18-inch models have 4-inch voice coils and are rated to handle
1,600 watts AES and 6,400 watts peak. Xmax for the neodymium model
is stated as 15.21 mm and 14.10 mm for the ferrite model. The 21-inch
model has a 6-inch voice coil and is rated to handle 2,500 watts AES
and 10,000 watts peak. Xmax is stated as 21 mm. All have die-cast
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8 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

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 Special Report

WIRELESS WORLD
The RF state of
the union in
2020.
by James Stoffo

A
s anticipated, the current one-
year 600 MHz spectrum transi-
tion period is indeed presenting
a greater challenge to wireless (micro-
phone, in-ear monitor and intercom) Don’t panic – things aren’t so dire in RF world that this Radio Active Designs UV-1G comm
system operators in the United States beltpack now needs a wire…
than any event in the history of man-
made radio on planet earth. The spec- opened up by the Federal Communica- 616 and 652 MHz. However, don’t throw
trum-auction dust has settled in most tions Commission (FCC). This, coupled out your equipment above 608 MHz –
cities and T-Mobile has energized in more with the fact that the frequencies of certain popular brands of systems may
than 10,000 counties across the nation digital wireless systems can be packed still operate in the guard bands. Analog
— making some 30 percent of wireless much closer together, is assisting in our systems also have their place with some
systems illegal to operate. plight. Digital transmitters have more interesting advantages over digital.
Consider the use of any system over linear RF amps, which results in reduced Due to all of the frequency congestion,
608 MHz to be a distant memory, except intermod distortion and thus allows the we must employ every trick available to
for the two guard bands of 614-616 and use of more systems in a smaller radio increase our chances for success. This
652-663 MHz. Most event producers and spectrum. Amplitude modulation and a includes implementing a radio spectrum
coordinators are oblivious to this fact, resurgence of the VHF spectrum are also band plan. Before every event, determine
and continue to specify an increase in providing some relief. the expectations of the person in charge.
the number of wireless systems for their But, at this point, consider it illegal to Place RF IFB (interrupt foldback) systems
productions. And we, the RF techs, keep operate any wireless audio device between in one band, wireless intercoms in another,
coming through with successful results,
which only serves to further feed fuel to
the fire of “more wireless”.
At this point, we’re operating in
approximately 6 percent of the traditional
UHF radio spectrum in comparison to
what was available in 1962. Yet, there’s
a silver lining to this cloud. Fortunately,
wireless audio devices have evolved along-
side the radio congestion being caused
by the spectrum auction and TV repack.
Further, the 614-616 MHz and 652-663
MHz guard bands are extremely useful
because, at least currently, they’re quite
clean and quiet. I use both regularly on
large events with tremendous success.
In addition to all of that, wireless man-
ufacturers have introduced systems in
the 941-960 MHz band that was recently A recent iteration of the T-Mobile deployment map, courtesy of [Link].

10 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

The “before and after” of the FCC Auction TV Repack.

wireless IEMs in a third band, and finally, We’re not completely out of the woods We must be educated in every aspect
wireless microphones in a fourth. yet, though. There are still a few areas of this craft. With the power of knowl-
By implementing a band plan, we lower in the country yet to complete the TV edge, it’s far more likely to be successful
the RF noise floor around every system, repack, and many low-power TV stations regardless of event size. Recently, I com-
resulting in greater range, better audio haven’t yet moved. Let’s pull out our pleted a large-scale show with well over
quality, and a more robust signal. Addi- toolbox of tricks again. For example: by 100 wireless devices held in a post-TV
tionally, do your homework with respect now, everyone working with RF should repack city where T-Mobile has firmly
to antennas. At this point, I recommend be using some type of radio spectrum established its roots. And now that it
the use of multi-polarized antennas such monitoring equipment. It can be a soft- worked, I’m sure that the producers will
as helical and CP (circularly-polarized) ware program that connects to wireless add even more wireless for next year.
designs. At a bare minimum, directional systems or a more sophisticated spectrum LSI
paddles should be deployed. They provide analyzer. The bottom line is that we can’t
the transmitter with a 15-30 dB advan- see RF without these tools, and we must. James Stoffo is a noted RF consultant and
tage over any interference considering It’s also highly advised to employ some chief technology officer for Radio Active
the forward gain and front-to-back ratio type of wireless intermod (intermodula- Designs, a developer of wireless intercom
rejection of directional antennas. tion) analysis software. systems.

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 11

 Reality Check

PRE OR POST EQ?

A key question Mixing monitors pre-EQ means that the
pickoff point for the auxiliary (aux) sends
feeds the monitor outputs. Study the
console and decide which one suits your

when mixing is taken before the EQ just after the pre-

amp and the high-pass/low-pass filters.
workflow better.

monitors from Some consoles don’t even include the

filters, going straight from the preamp
PROS & CONS
The pre-EQ approach allows the engineer

front of house. to the monitor sends and as a result, the

signal in the monitors is completely raw
to have complete freedom of possible EQ
moves during the performance without

by Aleš Štefančič and not influenced by EQ changes on the

respective channels. This can also mean
altering the monitor mix, keeping the
mix stable and reliable throughout the
that the signal is likely not affected by gig. The caveat, however, is that the

T
here may not be a more divi- any dynamics processing on the channel. engineer has no way of correcting the
sive topic in the mixing-mon- Check your manual for specifics. sound to the monitors on a signal level,
i tors - f rom - f ro n t- o f- h o u s e Alternatively, mixing monitors post-EQ placing most of the responsibility of pro-
conversation than whether one should takes the signal for the aux sends after viding a good signal on the shoulders of
mix monitors pre- or post-EQ. I’ve read the EQ module of the console. This the performers.
numerous discussions on forums and means that all the EQ changes made by It’s a valid point. As audio engineers,
social media with engineers frantically the engineer will influence the sound in we strive to get the best possible sound-
arguing their side as the only valid the monitors as well. Depending on the ing signal at the source. This means that
approach. I thought it would be wise console, it might also mean the inclusion if we want the drums to sound better,
to deconstruct this topic and present of dynamics processing. Modern digi- we tune the drums, change the heads,
positives for both sides as well as a tal consoles offer various pickoff points or have the drummer adjust the playing
workaround. for aux sends giving engineers various style. In other words, change the source
First, let’s briefly describe the technical options of including or excluding signal material so that it sounds good before it
difference between the two approaches. processing modules before the signal hits the microphone or direct (DI) box.

12 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

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 REALITY CHECK

The catch is that sometimes are placed where they should

there’s absolutely nothing that be, and that the sources are
can be done in terms of alter- in their best possible shape.
ing the input signal. How do 2) Also consider that we
singers change their voices? shouldn’t be correcting a
We can tr y changing their bad sounding PA system on
microphone, but does anyone a channel level. When all sys-
really carry an arsenal of 20 tem engineering principles
different mics to find the best are applied and the system is
one for the job? (And can this optimized on a system pro-
be repeated four or more times cessing level, we reduce the
for the backup singers?) need for channel corrective
Engineers favoring this EQ.
approach are – in my opinion Those deciding to go this
– more FOH sound oriented, route must be aware that
which is a valid strategy. How- their EQ moves influence the
ever, they remove one of the monitors as well. Boosting
tools for shaping monitor an EQ band and sweeping
sound from the equation, rely- to find the frequency that
ing only on the monitor mix Cutting instead of boosting is needs to be cut is out of the
bus EQ to shape the sound on question.
stage according to the artist’s almost always our friend, and it’s Cutting instead of boost-
wishes. imperative to train to cut as much ing is almost always our
The other side of the spec- friend, and it’s imperative
trum is almost a mirror image. as is necessary and no more to train to cut as much as
Engineers who mix monitors is necessary and no more.
post-EQ want to reflect their channel decide which works best for them and Retaining as much of the signal as pos-
EQ changes in the monitor mix. The their artist. sible helps ensure the monitor’s stability
reasoning is simple: if there’s a problem There is a way, however, to have our and will support the FOH sound.
in the signal, it has to be addressed in cake and eat it too. Digital consoles allow A s with most things in life, our
both directions: towards the audience and us to combine both approaches. My pre- approach is our call — an individual
towards the performers. For example, a ferred method is to double the so-called choice. It’s my hope that what I’ve pre-
muddy vocal needs reduced low-midrange “money channels” – lead vocals, solo sented here helps in making a slightly
for all pickoff points, providing the option instruments, whatever one decides are more informed decision.
of fixing the sound in the monitors by the most valuable inputs – and duplicate Just keep in mind that there’s almost
fixing it for FOH. them on the console. always more than one way of doing things
But here’s the catch: engineers will The first is sent to the main bus for and that there’s usually not a clear right
adjust channel EQs during the perfor- FOH and the second is sent exclusively to or wrong answer. If something makes our
mance as well, changing the mix for the monitors. Voila! The best of both worlds client happy and helps us create a great
monitors. This makes the sound from the at our fingertips. There’s the freedom of experience for the audience, then we’ve
monitors more unstable, sometimes even shaping the sound for FOH to our liking done a good job. It never hurts, though,
causing feedback issues if those chan- without affecting the sound in the moni- to try out things on our own to see if
nel EQ moves are substantial. So they tors, with the added bonus of now having there’s another workflow that can make
gain the ability to fix monitor sound on the ability to have corrective EQ for the us faster and more efficient, and therefore
a per-channel basis but lose the freedom monitor mix as well. better at our craft. LSI
to shape the sound for the audience as But when this luxury isn’t available
desired because they’re limited by the (maybe there are no spare channels on Aleš Štefančič has served for more than 20
restrictions of the monitors. the console), I usually opt for mixing years as a front of house/monitor engineer
monitors post-EQ. That said, here are in addition to being a technical director and
CLEAR WINNER? some things to keep in mind: mix engineer for the band Siddharta. Based
So, what’s the “right” approach when 1) This approach is way more effective in Slovenia, Europe, he’s also a musician and
doing monitors from FOH? It is, simply, when we do our homework on the input project studio owner. Go to gainmedialab.
up to the individual engineer. Weigh the source side. Make sure that mic selec- com for more of his articles and a roster of
pros and cons of both approaches and tion is the best possible, that the mics upcoming online courses.

14 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

Visit us at NAMM in booth #17907
and hear our speakers live at the
Hilton Lobby Bar.
 Feature

There may be a lot of amps, pedals, and switches, but the Black Keys’ Let’s Rock Tour is at heart a minimalist, no-frills approach to
live sound.

MORE CAN BE MUCH MORE

Loud, proud, and “In audio terms this show is about as pure to the original
intent of rock ‘n’ roll as you can get these days,” says front of

unmediated audio reigns house engineer Jason Tarulli, who like the founding mem-
bers of the band, Auerbach and drummer Patrick Carney, hails

with the Black Keys. from Akron, OH. “Everyone plays their instruments, there is
no tracking, not even a solitary click or anything. It’s totally
straightforward and to the point.”
by Gregory A. DeTogne, photos by Tarulli, along with system engineer Mark Brnich and monitor
Steve Jennings engineer Neal Jensen, form a sonically skilled triumvirate that
continues to guide the tour in the opening months of 2020. The
show is wider ranging in comparison to other past tours, thanks

O
n tour late last year, lead guitarist Dan Auerbach of the to the inclusion of three additional members onstage: Steve
Black Keys had a habit of introducing the songs “10 Marion on guitar, Zack Gabbard on bass guitar and backing
A.M. Automatic” and “Thickfreakness” as “basement vocals, and Andy Gabbard on guitar and backing vocals.
songs.” If these words are indeed accurate descriptors of those
tunes, perhaps others heard on a 31-date trek that wound down DIRECT INFLUENCE
for the holidays in late November could be called “garage songs.” This isn’t a show with in-ear monitors, or wireless instrument
However they’re defined, one thing is certain: Wherever you or vocal mics of any kind. On stage there are wedges, side fills,
turned in the set list, you were confronted with the type of raw, a towering stack of guitar amps behind Auerbach the crew calls
primal, rock ‘n’ roll energy characteristically spawned in both “Mt. Shredmore,” and consistent volumes that Jensen has mea-
residential locations. sured at 104-106 dB SPL. Having direct influence upon many

16 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

Front of house engineer Jason Tarulli says he “Strives to keep
everything as it’s given to me, but some sort of management is
required to keep things on an even keel.”
The tour’s d&b audiotechnik PA features KSL8s in the main and
of the decisions made all along the audio chain, the process of side hangs. SL-SUBs are flown, while a thunderous collection of
dealing with this formidable stage volume expressed itself early B22 subs resides on the ground.
on, starting with the choice of PA.
Provided by Eighth Day Sound (Cleveland, LA, London and
Sydney), it centers around a healthy core of 18 d&b audiotechnik
KSL8 enclosures flown per side as the mains along with a con-
tingent of d&b SL-SUB subwoofers, which go airborne at a rate
of six per side. A total of 24 ground-dwelling d&b B22 subs span
the front of the stage. As a further complement, side hangs of 14
more KSL8s per side were added, bringing the coverage potential
to just about the 180-degree mark from the stage. Audio power
for the system is delivered by 30-plus d&b D80 amplifiers.
“The first time I ran into a d&b system was while listening
to another band out at Red Rocks in Colorado,” Tarulli relates.
“The fidelity of the boxes captured my attention, and equally as
impressive was the fact that there was no bleed coming back to
the stage. Sound projected out the front of the cabinets stayed
within its intended area of coverage. I thought then and there
that they’d be perfect for times when I had a really loud band
onstage like the Black Keys.”
Fast-forward from Tarulli’s first impressions to September of
2019 when the band launched the first leg of the current Let’s
Rock Tour in Las Vegas, and he indeed found himself standing
in front of both the band and a d&b PA.
“My job is to give Jason what he needs to do his,” explains
veteran system engineer Brnich, who also is quick to note that
one’s eyes are not mistaken when they see “no vowels, just
consonants upfront” in his surname. “The rear-firing rejection
intrinsic within the d&b KSL design was indeed a big selling
All vocals - including those provided by lead guitarist Dan
point for us in this application, as were many other factors.
Auerbach - are captured with sE Electronics V7 mics. Everything
The B22 subs gave us the punch the band demanded in the low on stage is hardwired.
end, and as for control, d&b’s ArrayProcessing software let me
fine-tune system management to the point where I essentially wholly unmediated, natural. Just as importantly, every night
could tailor the sound in any fashion with pinpoint precision Jason should be able to walk out and have the same palette of
all the way from the front row back to the nosebleeds. sonic tools at his disposal to create his mix. This is the furthest
“The real art of sound reinforcement is found when nothing assignment you could imagine from just being able to turn it
sounds contrived,” he continues. “What you hear should be to 11.”

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 17

 FEATURE

Monitor engineer Neal Jensen (left) and monitor tech Drew Lew-
is preside over an onstage “universal head space” filled with
wedges and side fills.

System engineer Mark Brnich from Eighth Day Sound. engaging that cool stomp-box pedal good for 10 dB of gain
onstage is going to wreak havoc everywhere else.
TAKING IT DAY TO DAY Input on stage is approached as organically as one might
Tarulli’s contributions to the team’s collective efforts rely heav- expect for this band, starting at under 12 channels of drums
ily upon a DiGiCo SD12. Purposely keeping things simple, he with a largely Sennheiser mic package including a host of car-
runs everything through his VCAs, sticks almost exclusively dioid e 604s and e 904s punctuated by Shure SM57s on snares
with using onboard compression, EQ, and dynamics, seldom and Neumann overheads. Vocal mics across the board are sE
buses things beyond the drum channels he routes to a dbx 160 Electronics V7 dynamic supercardioid models, chosen for both
compressor, and uses no scenes. their clarity and side rejection characteristics.
“Early on I tried to adopt some scenes for things,” he says. “The v7s virtually eliminated bleed from both sides,” Jensen
“But I found that these guys tend to change things daily so you reports. “As icing on the cake, I also added a Rupert Neve Designs
quickly wind up digging a hole for yourself you may or not be Primary Source Enhancer as an insert on Dan’s vocals and set
able to get out of. It didn’t take long to realize I’d be better off it to provide a 6-9 dB cut when he’s not standing right in front
keeping a keen ear on things, listen for any hint of changes that of his mic. That way, when he moves away from it – which he
needed to be made, and just make them.” does frequently – Mount Shredmore right behind him doesn’t
To insure that the high stage volumes don’t negatively inter- invade that channel. That’s something we clearly want to avoid,
act with the house and vice versa, Tarulli takes a day-to-day, and this Neve unit is certainly up to the task.”
venue-dependent approach that emphasizes keeping a cool head
and staying in regular communication with monitor engineer GIANT HOME STEREO
Jensen. Consideration is given to everything that is in the Stage monitoring borrows freely from time-honored techniques.
loudspeaker elements onstage, and what the band can live After being onstage with Neil Young and experiencing the
without while still having what it needs to perform optimally. full impact of his monitor rig, Dan Auerbach purchased four
Reducing the number of open microphones as much as pos- horn-loaded, 2 x 15 Maryland Sound cabinets identical to those
sible is also critical to this strategy, and to that end all of the Young has used for decades to help produce his hallmark levels
guitar cabinets – including Mount Shredmore’s monolithic of overdriven guitar and feedback loops. Now serving as pillars
vintage Fender and Marshall stacks – while visibly miked in of the Black Keys’ monitoring efforts, Jensen powers the house-
front, are in reality only used with Palmer DIs ranging from hold appliance-size boxes with four Lab Gruppen FP10000Q
PDI 09 units to a multi-channel, passive rackmount model. amplifiers providing 2,500 watts per channel.
The mics seen at the front of the cabinets are there merely as a “If I had to take an educated guess, I’d say these old Mary-
safeguarding back-up and to maintain a traditional aesthetic. land Sound boxes probably go back to at least the ‘70s,” Jensen
By maintaining a tight line of communication with the techs says, taking a speculative stab at determining the date the
as well, Tarulli is also able to ward off excessive levels onstage cabinets were manufactured. “They’re the kind of thing you
by letting them know when conditions exist in the house where find in the back of someone’s shop covered with a sheet of

18 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

Guitar tech Daniel R. Johnson with “Mount Shredmore,” guitarist
Dan Auerbach’s monument to the Fender gods.

plywood, tools and parts scattered across the top, everything

smothered in a half inch of dust. These particular cabinets are
prime examples of the breed, and sound great. Like a giant
home stereo in a way.”
Jensen flies the first pair of these old warhorse enclosures
downstage within his stage blueprint pointed back into the
middle of the band at 45-degree angles. The second pair rest
atop tipped monitor cases upstage, each focusing downstage to
the center. Bringing the design back in touch with more recent
Techs Mike Vultaggio (left) and Samuel Balk with one of the
developments, passive d&b V-Series point source loudspeakers
vintage Maryland Sound side fills used onstage. Four were
provide ground-based side fill support, while 2-way M4 wedges
purchased based upon the success Neil Young has had with the
(also from d&b) occupy strategically located spaces directly in same boxes for decades.
front of the band members.
With his goal being to create a “universal head space” within
which everyone on stage is listening to the same thing in a
single sound field, Jensen uses a Midas PRO X console to
parse out signals to his collective cabinets in a fashion where
the V-Series boxes carry the load of drums and the remaining
elements mete out everything else. d&b D12s provide the
amplification.
“My overall intent with my mix is to place each source on
stage in the approximate region of where it emanates,” Jensen
says in clarifying his objectives. “I don’t use a lot of EQ, I let
the musicians provide their own sound and tone. I’m here to
capture an accurate sonic image of each moment, that’s all. The
band has worked hard on their sounds and tone, it’s not my
place to start altering any of that.”
Patrick Carney helping drive the band forward from behind a
UNCOMPLICATED & DIRECT drum kit using a complement of Sennheiser, Shure, and Neu-
Many among the crew note that this is either one of – or the mann mics.
– loudest show they’ve worked in memory, a fact that keeps
everyone on their toes and vigilant for the times when invari- sound you want at the very beginning, everyone’s job is easier.
ably things will try to get away from them. Nonetheless, the You don’t want to ever find yourself using Band-Aid solutions.
methods, technology, and stagecraft that make it work are by As an engineer you want to turn up the volume and find it’s
design uncomplicated and direct. already there. It’s really that simple.” LSI
“This crew lives by an ethos that doesn’t promote throwing
a lot of things on the fire,” Jensen adds. “We all want to work Gregory A. DeTogne is a writer and editor who has served the
with the source material first and foremost. If you start with the pro audio industry for more than 35 years.

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 19

 Backstage Class

SIMPLE YET VITAL

Best practices in
developing input lists
and stage plots.
by Eric Ferguson

I
n the world of live audio, no documents are as ordinary
as input lists and stage plots. Every day across the
world, artists, management, and production technicians
create, share, and employ these seemingly simple documents
to prepare for concerts and other live events.
Unfortunately, as commonplace as input lists and stage plots quently submit unreadable assignments created on random
are, they are regularly lacking crucial content, are filled with applications or operating systems. If we want our docs easily
misinformation, or are difficult to decipher. As a college edu- read by all, use PDFs.
cator who instructs young sound engineers, I do my best to Also be wary of cloud-based applications in which your readers
communicate best practices. What follows is my current list will need internet access to view the documents. While Google
of suggestions on how to fashion the all-important input list Docs and other solutions are immensely powerful in office envi-
and stage plot. ronments, stage technicians don’t always have reliable internet
or spare minutes on a job site to remember a password and sign
GENERAL ADVICE into a server. Simply export them as PDFs and you’re good to go.
My first recommendation is to avoid the temptation to combine
input lists and stage plots together. This approach is frequently AVOID FRUSTRATIONS
seen on documents created by Stage Plot Pro, a popular plot Nearly all audio professionals have worked a gig in which the
construction program used by many in the industry. While in information they received in advance was incorrect and/or
principle I have nothing against a combo doc, it rarely works out of date. It’s almost a cliché in our industry for a backline
out well in reality. Some important information is inevitably company to provide musical equipment and/or a local crew to
left off in order to save room, or because a software template set up a stage, only to find out when the artist arrives that the
doesn’t include it. When an effort is made to include all data setup is based on a previous tour’s documentation. Often this
on a single page, the document’s text often becomes too small occurs because production information is emailed to promoters
to be readable. by booking agents far in advance of a show.
Speaking of readability, it’s important to remember your While we can’t stop oblivious office staff from spreading
audience. Technicians come in all ages and with all manners ancient information, there’s a way for us to send a coded mes-
of visual acuity. Many will read your docs under dim stage sage to tech crews of future gigs. A simple date or title such as
lights. As tempting as it is to use small, cursive, or otherwise “Summer Tour 1969” can alert technicians to the exact vintage
creative fonts, always employ standard block text in a larg- of the information enclosed.
er-than-normal size. Going a step further, a better solution might be to place an
Related to this, please use a computer to prepare documents. expiration date on your docs. A warning such as “This Input
It’s the information age, and professionalism demands attractive List Is Only Valid Through 1/15/2020” will do the trick, and
and easily discernible documentation. Computers live in our you’ll want to follow it with instructions as to whom to contact
pockets, and the days of cocktail napkin stage plots have passed. after expiration.
Learn from “Spinal Tap” and never expect chicken-scratch Regardless of the chosen document-dating approach, contact
drawings to deliver precise measurements. information must be provided on all stage plots and input lists.
It’s also important to share these documents as PDFs. While The inclusion of the name, email, and phone number for the
cross-platform file exchange is not as bad as it used to be, PDFs front of house engineer, production manager, or other artist
are the most universal file format for text and graphic sharing. representative is a necessity for helping local technicians answer
I regularly encounter this issue with my students, who fre- questions and avoid assumptions.

20 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 s 12x N
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 BACKSTAGE CLASS

Of course, it’s the responsibility of venue staff and other local

techs to double check the information provided to them. If you
work in this capacity, be sure to always “advance” the show by
contacting artist/tour representatives. During the advancing
process, double check the docs that were previously provided
to you by emailing them to your tour contact. This simple con-
firmation of accuracy can save many headaches.

GETTING STARTED: INPUT LISTS

Inputs lists are easy to create. The most basic list informs the
reader which sound sources require reinforcement. Simple input
lists, such as those used by small town bands, may not even
specify the types of mics to be used. More complicated versions
are usually drawn up by an artist’s FOH engineer, and are in a
particular order, require specific microphones, and offer other
information such as mic stand type, sub snake patching, and
console outboard requirements.
As mentioned earlier, always remember your audience when
making production documents. Anything that can be done to
make an input list easier to read will lessen the probability of
wiring and other mistakes. An improvement to the traditional
text-based input list is to build the document around a table.
Tables allow grid lines to be present that make it easier for
the reader to see information associated with a specific input.
Taking this a step forward, I recommend shading every other
line in the table. This further assists the technician in reading the
document. Figure 1 offers a sample input list, demonstrating
shading and other suggestions. Figure 1: A sample input list generated by the author.
Opinions vary greatly regarding mic selection and technique.
I won’t tackle these topics here but will voice my opinion regard- fall on different layers, or a pair of keyboard direct inputs (DIs)
ing the order of sources. The most common approach is to start must split across banks. Related, it’s best to make sure paired
an input list with the kick drum on input 1 and move upwards inputs start on odd-numbered channels. While many modern
through the drums, bass, guitars and keys, and finish off with desks have no issues with ganging stereo pairs across even-odd
the vocals on the highest numbered inputs. I call this the “K•S•H” channels, many older consoles only allow odd-even (e.g., 15-16).
method, after the tradition of the first three console inputs Why does this matter? Grouping stereo inputs into a pair
being kick, snare, and high hat. allows EQ and other settings to be easily shared. When EQing
Ironically, back in the days of large-format analog consoles, the overheads, the engineer need only adjust one side, and the
this method didn’t always work, as important elements such as other channel automatically matches.
the kick and vocals, could end up on the extreme left or right
sides of a big mixing console, making fader riding difficult. For THERE’S MORE
this reason, some engineers rearranged their input lists to put Interrelated is the age-old debate between drummer’s perspec-
lesser used inputs (cowbell) on channel one, and more important tive and audience perspective. For those unaware of this dispute,
sources (lead vocal) near the center of the desk (channel 16). the question at hand is on whose left (stage left or audience
While I appreciate creative and problem-solving workflows, I left) does the left overhead sit? Whatever your opinion, clearly
stick to the standard kick-on-input-one approach. Except in the labeling input lists so the stage crew is informed of your prefer-
world of major tours, most shows rely on local crews to patch the ence. If they don’t know, the techs will either cable it backwards
stage – asking these techs to patch in a strange manner (such as (Murphy’s Law) or pester you during setup for an answer.
patching the drums in reverse order) is just asking for trouble. Building spare, unused inputs into the list is also advisable.
Another important technique is to build input lists with fader Things always change, such as an additional guitar being added,
banks in mind. Modern digital consoles seem to be shrinking, or a snake line found to be broken. Placing an empty channel
with 12 or 16 input faders increasingly common. To see more here or there on the list grants flexibility.
inputs, the engineer must switch between banks/layers of faders. Additionally, an empty channel might help a stereo pair fall
When creating a list, arrange sources to avoid like-elements on odd-even inputs or like-instruments reside within a fader
spilling across banks. It’s annoying when two drum overhead mics bank. Placing a spare vocal mic somewhere on the list is also

22 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

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 BACKSTAGE CLASS

wise. The lead vocal is often the “money” channel, and failure is
not an option. This is especially important when a star vocalist
relies on a wireless mic, which is by nature, less reliable.
Although you and/or your artist might be attached to a bou-
tique mic, it can be problematic to request uncommon models
on an input list. Not every sound company or venue has a wide
selection of mics. If something specific is required, be sure to
travel with it, and mention on the list that it is provided by
the artist so the local sound company doesn’t need to expend
effort hunting down an esoteric model.
In general, I suggest input lists spec common, meat and pota-
toes mics. The easiest solution is to accept ubiquitous Shure
models such as the venerable SM58. Better still, request the
“fancy pants” mic on the input list but offer an easier-to-find
alternative as well.
How sound sources are named is also important. While most
input lists keep instrument and source names short, such as
“Guitar 1” and “Guitar 2”, it can be helpful to include additional
Figure 2: Example stage plot that includes many of the author’s
information as well. A more detailed source name, such as recommendations.
“Electric Guitar 1 – John”, can help local crew better understand
the setup and show. Avoid graphics in mixed perspectives. While it can be creative
Other information is frequently included on input lists. to use random images from the web to build a plot, this can
Many engineers specify mic stand type and size. Sub snakes or send mixed messages to the stage crew. If illustrations are not
other patching might also be mentioned, especially in festival precise, a drum tech might put up the wrong drum kit. If a plot
situations. Also common is listing the mics requiring phantom mixes top-down and from-the-front perspectives, equipment
power. For professional engineers this might be unnecessary might be set up incorrectly.
information; I work regularly with student engineers, however, If possible, draw plots to scale. I remember a gig years ago
and the noting of phantom minimizes problems while simul- in which I provided a plot that was terribly out of scale. When
taneously helping newbies learn their mics. arriving at the venue, I found the local crew had diligently set
Although somewhat unrelated to inputs, I also like to include up the stage incorrectly. It was embarrassing and annoying to
a list of monitor mixes as well as important monitor mix notes have the techs move and rewire everything again. If the plot
on input lists. Further, although sound system requirements can’t be drawn to scale, which is often the case, at least note
are usually voiced in an artist’s rider, I place specific front of this fact on the document so the crew will expect changes.
house needs on the list as well, as technicians are less likely
to read a rider. ADDITIONAL FACTORS
A variety of items should also be included on stage plots. Essen-
GETTING STARTED: STAGE PLOTS tials include location of monitor wedges, instruments and
Building an effective stage plot is more challenging than input amplifiers, along with placement and dimensions of risers,
list creation. While a simple word processor can effectively carpets, and other scenic elements. If music stands are nec-
note mic requirements, a graphics program, inevitably with a essary, mention them on the plot. Position of power drops is
learning curve, is required for constructing a stage plot. Any also important, and if touring internationally, be sure to spec
drawing application will work, but specialized software makes voltage requirements of these drops.
it easier. Programs and websites such as Stage Plot Pro, Stage Expanding beyond the basics, it can be useful to indicate
Plot Designer, and Stage Plot Guru are inexpensive or free and where mics are located and what sorts of stands they require.
worth experimenting with. That said, I generally avoid displaying drum mics and stands.
The first thing to consider is the plot’s perspective. I advise They can clutter a plot, and the information is included on the
keeping to standard 8.5- x 11-inch paper size, but format it input list already.
in landscape mode with the stage wider than taller. In this Similarly, some folks denote the input number of each micro-
manner, the audience is at the bottom which is the norm for phone on their stage plots. While this can work, it can be con-
most stage plots. fusing, especially if a similar numbering approach is used for
Whatever orientation you choose, it’s best to label the location labeling stage monitors. In general, I don’t recommend num-
of the audience, so no one is confused of the position of this bering mics and DIs, as this can make synchronization with the
all-important landmark. Figure 2 provides an example stage input list difficult. Who wants to update the stage plot every
plot that includes many of these suggestions. time the input list changes?

24 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 However, I definitely advocate placing vocal mics on plots It’s best to follow the old adage of “K.I.S.S.” (Keep It Simple,
because this information is crucial. Be sure to label who’s located Stupid), and only include the essentials.
where and what instrument they play. This helps the local crew, For example, it’s unnecessary to place backline minutiae on
often unfamiliar with the artist, communicate effectively with a plot, such as required guitar amp types, pedal board details,
the musicians. Simply label each vocal position with name of or drum kit specifics. These specifics are better handled in a
the musician and their instrument, for example: “George – Lead backline-focused document. It’s also superfluous to provide
Guitar”. Labeling stage monitors, usually by mix number, is a mic details, as this is the purpose of the input list. Simple but
must as well. accurate stage plots always work best.
Compared to other complexities involved in modern event
The question at hand is on production, crafting input lists and stage plots is a relatively
simple task. That said, many production documents passed
whose left (stage left or audience around in this business are confusing, out of date, and incorrect.
It’s simply not hard to follow best practices, create effective
left) does the left overhead sit? documents, and help others around you have a smooth gig.
Whatever your opinion, clearly As a last thought, I’d like to add that I see the best practices
discussed in this article as dynamic and flexible. If you feel I’ve
labeling input lists so the overlooked an important aspect or would like to offer an alter-
stage crew is informed of your native perspective, please share your thoughts with me. LSI

preference Eric Ferguson is an assistant professor of Live Sound Production at

the New England School of Communications at Husson University
Over the years I’ve witnessed a litany of different stage plot in Maine. He also has extensive experience in the studio and with
designs. Some plots go overboard with details, many of which sound reinforcement, including world touring with artists such as Lee
are unhelpful to local crews working only once with an artist. Ritenour and James Ingram. Reach him at fergusone@[Link].

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 25

 Gig School

BOLD DIRECTIONS
The future
of stage
monitoring.
by Becky Pell

I
n the previous issue (LSI Decem-
ber 2019), I explored the history
of stage monitoring – from the
very first incidences of loudspeakers
being spun around for a performer to
hear themselves, to the crystal-clear qual-
ity offered by monitor wedges and in-ear
monitoring (IEM) technology today. So
where to next? What will be the future binaural hearing – that is, how we hear, mix. Listening to the mix felt as though I
of monitors? distinguish and locate sounds naturally – had actually removed my IEMs and was
While personal mixers that give musi- to allow the engineer to “place” different hearing all of the sound sources acous-
cians individual control of multiple chan- mix elements around the performer in a tically, but with absolute clarity and at
nels via a tablet have been around for 3D soundscape within their IEMs. exactly the desired relative volumes.
some time courtesy of companies such Using the data gathered from At that time, the technology allowed me
as Aviom and Allen & Heath, a new soft- mind-boggling amounts of research, to “pick off” the individual lines post EQ
ware-based product from Audio Fusion the technology creates subtle inter-aural from the desk via MADI and send them
Systems has taken this idea and brought differences in level, time and coloration to the Klang:Fabrik unit which drives the
it to mobile phones. Called Audiofusion, to replicate the experience of hearing a system. This meant that if I wanted to give
the system uses the iPhones of the musi- sound come from beneath, or behind, more than one person a 3D mix, I would
cians as a wireless receiver for their IEMs. or one side, or high up to “move” an need to control their individual mix send
Specifically, audio is sent digitally to an instrument to where the engineer places levels via the app or an external fader bank
Apple computer running the company’s it. All with the user-friendly iPad or lap- – entirely possible, but a different process
proprietary SoundCaster software. This top interface. My experience was that it from the usual desk mix.
computer is connected to a dedicated wire- allowed me to create an extraordinary Since then, however, Klang has joined
less router, along with the iPhones being feeling of spaciousness within what could forces with DiGiCo to create fully-inte-
used for monitors. Sixteen audio channels have been, at 168 inputs, a very crowded grated software that allows the engineer
are available via an app on each iPhone
which allows them to create their own mix.
Although seasoned monitor engineers
and musicians may well be shuddering at
this prospect, it might have a market with
entry-level setups that can’t yet stretch to
afford a true RF solution.

PUTTING THINGS IN PLACE

Last year I stepped into a new world of
monitor mixing with the Klang 3D IEM
system, which I utilized on The War of the
Worlds musical tour (LSI February 2019). Audiofusion SoundCaster software and what musicians see on their phones, which act
Klang’s innovation uses the principles of as wireless receivers.

26 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

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JH Audio Layla earpieces equipped with

as many as 12 drivers.

The interface for the Klang 3D IEM system that the author deployed on tour last year.

to “pick off” the individual lines post aux and Sensaphonics offers embedded binau-
send, so that any changes made to that ral microphones to capture ambient sound
send on the desk are seamlessly reflected with full 3D directionality. The ambience
in the mix, and the engineer can continue is routed to the compact bodypack mixer,
to mix exactly as they’re used to doing. where it’s combined with the monitor mix Pre-production ADEL earbud models.
I’m very much looking forward to using and delivered to the ears with zero latency.
this new integration on a forthcoming A toggle allows instant switching between ment. The resulting pneumatic piston
tour this coming summer, and am person- Perform Mode (used while playing) and effect on the eardrum can cause the
ally convinced that 3D IEM mixing is the Full Ambient Mode (for communication eardrum to move with a far greater
way forward. Not only does it sound fan- between songs). amplitude than normal, and by way of
tastic, but because the brain doesn’t have My vote for the most exciting earbud self-protection, the acoustic reflex action
to work hard to make sense of a synthetic innovation goes to Asius Technolo- takes place: the tensor tympani muscle
stereo mix but hears what it “expects” to gies, the company founded by Stephen contracts and pulls the malleus bone,
hear in a real-world, three-dimensional Ambrose, who you may remember from which touches the eardrum and allows
situation, the levels of both ear and mind my previous article – he created the first ossicular coupling to occur and transmit
fatigue post-show are greatly reduced. homemade in-ear monitors way back in vibration down the tiny bones of the mid-
Even more importantly, the space 1965. Ambrose introduced many musi- dle ear, away from the eardrum.
created by mixing in this way generally cians, such as Guns ‘n’ Roses, to IEMs At the same time, the tiny stape-
allows the central element of a mix (i.e., during the course of his touring life, but dius muscle in the middle ear contracts
click for a drummer) to be turned down when he discovered evidence that his to pull the stapes or “stirrup bone”
by as much as 6 dB. That’s enormously invention could actually be causing harm slightly away from the oval window of
significant when it comes to protecting to people’s hearing, he stopped touring the cochlea, against which it normally
the hearing of the people we mix for. (By until he found a solution. vibrates to transmit pressure waves to
the way, Klang and DiGiCo have some When we hear a sound from an exter- be converted into nerve impulses. These
additional exciting news to announce nal source like a loudspeaker, the acoustic protective actions create a compression
very soon, and I’ll be sharing these new pressure waves enter the outer ear, hit effect resulting in a 20–40 dB reduction
developments in next month’s issue.) the eardrum, and those vibrations are in what we hear, so what happens? We
translated into nerve signals by the mid- turn up the volume… and so the vicious
ONGOING INNOVATION dle and inner ear. Because the outer ear circle of hearing damage begins.
The technology surrounding in-ear mon- – the trumpet-shaped ear canal between Ambrose found a way to break the cycle,
itor earpieces themselves has also come a the fleshy part of the ear on the side of our backed by the National Institute of Health
long way since its inception, with models heads and the eardrum – is an open system and the National Science Foundation. His
such as JH (Jerry Harvey) Audio’s Layla like a long cave, air can move in and out. invention, called ADEL (Ambrose Dia-
boasting as many as 12 balanced armature However, as we know, IEMs are tiny phonic Ear Lens), introduces a second,
drivers. Some brands have a removable loudspeakers that sit inside the ear and artificial eardrum into the equation to act
ambience attenuator tunnel, allowing for a they seal the entrance to that cave, so as a pressure release valve. Meaning that
certain amount of natural sound to enter, there is no natural “in and out” move- the eardrums of the listener are no longer

28 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 The study by the Vanderbilt University Medical Center on ADEL Drum earbuds.

pounded with sound pressure waves from ADDITIONAL ASPECTS YouTube video. The two men got together
which they have no refuge, and listeners But ADEL technology doesn’t simply and Johnson was delighted with the
can turn their volume way down as the prevent hearing loss caused by IEMs, result, saying: “It just totally works. I was
middle ear is no longer in defence mode it actually has the capacity to allow really amazed to be able to hear music like
and the stapedius and tensor tympani those people whose hearing is already I haven’t heard for several years.”
muscles can relax. damaged to hear clearly again. While This is a medical breakthrough that
By not prematurely tightening in-ear the drum earbuds described above use has the potential to be life changing for
muscles (and so dramatically compress- a passive form of ADEL, Ambrose and millions of people. Truly a revolutionary
ing the volume), loud sounds actually the Asius Technologies team have also advance in the future not just of mon-
sound louder and require lower overall created an active form of the invention itors, but for the listening pleasure of
volume levels. A study by the Vanderbilt which, rather than a standard rubber everyone. (An information pack on ADEL
University Medical Center shows that tip or custom mold, has a tiny inflatable is available for free download at asius-
using ADEL Drum earbuds allows listen- balloon on the end of the earpiece which [Link].) LSI
ers to enjoy “enhanced loudness percep- nestles inside the ear canal. The result-
tion” (lower volumes sound significantly ing resonance actually allows the bone Becky Pell is a monitor engineer with
louder, and better, over conventional conductivity of the skull – trans-cranial more than two decades working with live
devices). This provides them a louder, yet conduction – to restore hearing function sound. She toured as a monitor and RF
safer, high fidelity listening experience to nerve-dead ears. tech with Black Crowes, Travis and Kylie
at greatly reduced power levels (1/4th to When Ambrose brought this product Minogue before moving behind the desk to
1/16th typical levels) with no perceived into existence, AC/DC’s Brian Johnson mix monitors for artists such as Aha, Muse,
loss in volume, allowing the eardrum to had recently announced that his tour- Westlife, Anastacia and Take That. Read
behave as nature intended rather than ing days were over due to hearing loss. more from Becky at [Link] and on
being subjected to pneumatic pressure. Ambrose reached out to him via a viral ProSoundWeb.

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 29

 Perspective

CONNECTING THE DOTS

Using what
you know to
understand
things you don’t.
by Ike Zimbel

“G
o with what you know” is a
common expression which
can be used for something as
simple (and boring) as ordering a ham-
burger when it’s the only thing you rec-
ognize on a menu. However, I prefer to
interpret it as “use knowledge you already
have as a means to learn and understand
new things.”
An example: For many years, the
graphic equalizer has been the go-to EQ
in our industry. People are very familiar you might usually reach for the 630 Hz and try widening the bandwidth until you
with “the graphic” and are often uncom- slider and pull it down, say, -6 dB. How- hear the improvement in both ranges. At
fortable if they don’t have at least one ever, you only have a parametric available. this point, you may want to move the
in their signal path. But with the advent What to do? GWWYK! Select one of frequency control up or down a bit and
of sound systems that are a quantum the mid-bands on the parametric, set the listen to the results, and, you may also
improvement over what we had “back frequency knob to 630 Hz and the filter want to experiment with the +/- knob to
in the day,” as well as the proliferation of bandwidth to about a third of an octave, see if, perhaps, less cut is needed overall.
advanced measurement tools like Ratio- turn the “+/-” knob to -6 dB, and guess Maybe the moves you’ve been making
nal Acoustics Smaart, Meyer Sound SIM what? You’ve just emulated the 630 Hz with the 630 and 800 Hz sliders on a
and others, it doesn’t take long to see that slider and accomplished what you would graphic for years have really been call-
a third-octave graphic is a pretty blunt normally have with the graphic. ing for a half-octave -4.5 dB dip at 708
tool for some of the precise equalization Now comes the learning moment: If Hz all along.
jobs that we may encounter. your next move would typically be to
This brings me to parametric EQ. reach for the 800 Hz slider and pull it BOTH ARE INVISIBLE, BUT…
It’s also been around for years, but I’ve down to a point that it complements the How does this apply to the world of
encountered many people who were reluc- 630 Hz cut, try rotating the frequency wireless mic, IEM, and comm systems,
tant to use it because of unfamiliarity and knob upwards until you start to hear what as well as RF in general? Many folks I’ve
related reasons. Here’s where we may be you would expect from the two graphic encountered in both RF workshops and
able to apply the “go with what you know” moves. You may be amazed to find that on the road are nervous around – even
approach to making the transition from the sweet spot you have been looking for, afraid of – using wireless equipment. They
a graphic to a parametric. for years, is at say, 708 Hz. Why? Because don’t trust it, expect it to fail at the worst
life doesn’t occur on ISO centers! possible moment, and generally have a
EMULATING THE PROCESS Moving on, if you find that the upward real problem working with this… voodoo.
Let’s say you’re “voicing” a sound system sweep of the frequency knob starts to Why? Because RF is invisible – we can’t
with an industry workhorse mic such as lose some of the improvement that you see what’s happening with this invisible
a Shure SM58. You hear some midrange heard at 630 Hz, while still making an link between the transmitters and the
build up. At this point, with a graphic, improvement in the 800 Hz range, stop receivers.

30 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 Many of these same folks will
happily hang, point and tune PA
systems all day long without ever
having seen a sound wave! (Yep,
sound waves are just as invisible as
radio waves.) And yet “knowing”
about sound waves, and how they
behave, is what makes it possible
to visualize what we’re doing when
timing and tuning a system.
Consider an arena with a solid
glass wall of VIP booths posi-
tioned all the way down one side
of the room. Any system tech is
going to know that there are going
to be reflection problems to deal
with. Even junior PA techs know
that if a sound wave at a certain
frequency reflects off a surface and
then intersects the direct signal
again, there will be cancellation
at the frequency in question.
Ditto if a timing issue is causing The author in the field, providing RF coordination services at a large-scale event.
cancellations.
Well, waves are waves, and yet time reflections. So, what if the in-ear monitor an antenna with less forward gain and a
after time when I try to describe the pur- systems perform really badly on the stage wider coverage pattern, or turn down the
pose of a diversity antenna system and in that room? Another “mysterious” RF Tx power on the transmitters; in other
the effects of multipath reflections on issue? Gremlins? Interference? words, do what you can to limit the reflec-
radio waves, I get blank looks, even from tions, just as with loudspeakers.
some very experienced people. What if the in-ear Similarly, we know not to aim a loud-
speaker through a piece of truss with
PRACTICAL APPLICATIONS monitor systems a bunch of lights on it because all that
To tie all of this together, if you struggle
with understanding RF issues, start with
perform really badly hardware will interfere with the prop-
agation of the sound waves. Yet sadly, I
“go with what you know” – beginning with on the stage in see wireless antennas pointed through
what you know about how sound waves truss on a regular basis, and yes, all that
behave. Do sound waves and radio waves that room? Another hardware does interfere with the propa-
behave exactly the same way all of the “mysterious” RF gation of radio waves.
time? Well, yes and no. For example, where The bottom line is that when faced
a sound wave might be expected to reflect issue? Gremlins? with unknowns, go with what you know!
off a surface, say the back wall of a room,
a radio wave might pass through that wall
Interference? Well, Start with your existing knowledge base
to begin to understand new ideas. Just
– but – it might then reflect off of the wall maybe not be sure to keep an open mind about what
behind that wall (say, the steel cladding on you know and be prepared to modify your
the outside of an arena) and then back Well, maybe not. The industry standard long-held beliefs when faced with evi-
through the first wall, and finally back into IEM transmit antenna, the PWS Helical dence that they may have been a bit off
the wireless system antennas. (and all antennas), also has a pre-deter- to begin with. LSI
What does this look like in practical mined, known, coverage pattern. If it
terms? To go back to the example of the happens to be aimed at the glass wall that Ike Zimbel is a wireless frequency coordi-
arena with the glass walled VIP section: the system techs are trying to avoid with nator and tech based in Toronto. Reach him
we know that the loudspeaker system has the PA, there will probably be destructive via LinkedIn. Ike is a freelance RF techni-
a pre-defined coverage pattern, and that reflections that cause dropouts in the IEM cian available for tours, one-offs, off-site
if that pattern is not steered away from systems. What’s the solution? GWWYK! frequency coordination and consulting on
the glass wall, there will be damaging Aim the antenna differently, or switch to RF issues.

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 31

 Analyze This

DON’T FEAR THE PHASE GREMLINS

Looking further into
alignment between
mains and subs.
by Michael Lawrence

M
uch ado is made about the time align-
ment (or more accurately, phase align-
ment) between the mains and the
subwoofers in a sound system. Despite the large
amount of “PR” dedicated to this topic (to which I
inadvertently contribute by writing this), I main-
tain that this topic can generate more buzz than
it warrants.
The truth of the matter is that in most circum-
stances, it’s simply not as critical as we seem to
think. The inherent geometry of combining flown
mains and ground-stacked subs creates a situation
where the sub-main alignment will not hold over
the space. As I wrote previously (Don’t Phase Me
Bro, LSI June 2019), in most venues, if you don’t
like the sub-main alignment, try changing seats.
This isn’t as dire as it seems.
I’ll admit this can look pretty scary on an acous-
tic prediction – no self-respecting system tech
likes to see the deep “blue river” nulls jutting
through the house in section view. However, the
prediction can be misleading. Predictions show the
energy of a small frequency range over the whole
space, which is the opposite of what a listener (or
a reference microphone) would experience – the
full frequency spectrum at a single location. And
once wall reflections are considered, it’s a different
story entirely…
However, all of those potentially mitigating
factors are, in my opinion, secondary to a more
interesting and pertinent question: how bad
can it be? If the stars align in the worst way,
how much damage can be done to the audience
experience by having a poorly aligned main-sub
crossover?
The situation to pay attention to is when the
subs are flown in close proximity to the mains
– either at the top of the same hang, or directly
behind or adjacent. In this scenario, the close
placement results in a more “coupled” summation
behavior that will be far more consistent over Figure 1A, 1B, 1C

32 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

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 ANALYZE THIS

the space – because moving throughout the

space doesn’t change the relative arrival times
between the sources nearly as much as it would
for ground-based subs.
Thus, a good alignment has the potential to
“hold” more uniformly over the space. But so
does a bad alignment. It follows that this is the
situation that can cause the most trouble if we
don’t handle it properly. But what does “trou-
ble” look like? Is it a show-ruining experience,
a minor inconvenience, or perhaps somewhere Figure 2
in between?

GETTING THE PICTURE

During a recent (Rational Acoustics) Smaart
training class, I had the opportunity to answer
that question. The venue we used for the train-
ing had a new PA system installed – but not yet
tuned. Each side consisted of seven boxes hung
beneath a pair of 18-inch subwoofers. This main-
sub relationship is about as “coupled” as one can
get, and at the wavelengths in question, we can
feel relatively confident that we can observe a
stable relationship between the two throughout
the space.
We deployed three measurement microphones
at the top (A, blue), middle (B, purple), and bot-
tom (C, red) of the house right seating area, on
axis to the array, and measured the responses of
the main and the sub at each location. Figure 1
shows that in all cases, it’s well-aligned through
the crossover region around 88 Hz – thanks to
the coupled configuration for this well-behaved
alignment.
Now that we have a picture of the best-case
scenario, let’s flip the polarity of the sub and see
how bad things become. Since it’s the degradation
of the summation that’s of interest, Figure 2
shows the full sub-main summation at A, B and C,
plus the same summations with the sub polarity
inverted (yellow). The traces are vertically offset
for visual clarity.
Note that this is a situation in which the effects
of a bad alignment are going to be far more pro-
nounced than usual, and we’re intentionally
making the alignment as poor as possible. Is
there a measurable effect here? Yes, absolutely.
Is it a show-ruiner? I vote no. (So did all 25 of
the class attendees.)
Remember that with an uncoupled system
configuration (subs on the ground, mains in the
air) we can expect these types of variations as a
matter of course throughout the seating area. It’s
possible for the main-sub time offset to vary by Figure 4

34 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 always the case. Figure 4 provides data from
another large-format rig, in which the alignment
is maintained out past 250 Hz. No realistic amount
of level increase on the part of the front of house
engineer would result in pushing the subs and
mains out of phase alignment here.
In conclusion, although there are some real, mea-
surable issues that we need to be aware of when it
comes to sub alignment and aux-fed subwoofers,
I certainly don’t feel that these are show-ruiners,
and in the case of aux-fed subs, some engineers
(including myself) may happily make that trade for
the benefits of the AFS mixing workflow – cleaning
up the low end of the mix by controlling which
inputs can drive the subs.
Of course, everyone has their own approach, but
Figure 3 based on this data, I think it’s fair to say that fear
of lurking phase gremlins shouldn’t dissuade folks who might
a 10 millisecond (ms) window or more in a large venue, equiv- otherwise be interested in trying the approach. LSI
alent to a full cycle at a 100 Hz crossover frequency, meaning
that the summation situation will run through the gamut of Michael Lawrence is an independent front of house engineer
possibilities over the space. Anyone who considers this unac- and system tech, and he’s also the technical editor of various pro
ceptable should fly the subs. audio publications. Read more from Michael and reach him at
[Link]. The author thanks David Williams
WHAT ABOUT AUX-FED SUBS? and Hannah Goodine for their contributions to this article.
A full exploration of this topic can go
on for quite some time, but there’s one
related concept that deserves a mention
– a common objection to the aux-fed
technique is that varying the level of the
subwoofer drive (or the contribution of
individual inputs) will move the acoustic
crossover point. I touched on this in the
previous article, so interested readers
are encouraged to review that first. (Go
ahead — I’ll wait here.)
One way to avoid these shenanigans is
to use the sub send as a fixed-level group
– each input is either routed there, or it’s
not. But what if we vary the level? Does
the acoustic crossover point move? Yes,
it does. But how much?
We used a low shelf filter to attenuate
the low end of the main PA response by
10 dB below 500 Hz, done in the pursuit
of a flatter overall response but for the
sake of this examination, it has the same
effect on the acoustic crossover point
as raising the level of the sub drive by
10 dB.
Figure 3 shows that this moves our
acoustic crossover point to around 125
Hz, at which point our phase alignment
is just barely holding together. This isn’t

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 35

 Business Matters

CULTURE CLASH?
Building winning,
truly productive
working
relationships.
by Peter Janis

O
ver the years I’ve observed what
seems to be a huge disconnect
in professional audio between
some manufacturers and the market –
more specifically, their customers and
potential customers. (“Manufacturers are
from Mars, Customers are from Venus”
comes to mind…)
Following countless discussions with
business owners spanning decades, I’ve
come to the conclusion that the most
common source of the problem is the
all-encompassing ego. Don’t get me
wrong – one must have a strong ego to
charge forward in the face of adversity, and in general, the way we were doing stage technicians. During these visits,
and most importantly, to get things business. The results were stellar. I would ask a ton of questions, look at
done; however, those unable to keep Cult-like activities come to mind how things were being done, and try to
their egos in check are destined to fall whereby people get together in small uncover problems so that we could come
into traps. groups and through discussion, create up with commercially viable solutions.
I recall hiring a consultant at Radial imagined theories that eventually become Frankly it astounds me that so few
Engineering, and initially I received a firm beliefs. I think that to a certain higher-level managers take the time to go
ton of push-back from several on the degree, this also happens in business. out to see how their products – or often
senior management team who felt they While working with Fender Canada just as importantly, competitive products
were more than capable of guiding the (TMI), my boss would bring management – are being used and how they’re per-
company forward without outside help. around the table to “drive the consen- forming. These are the “turn-signal indi-
We were a $12 million dollar company sus” towards his way of thinking, even cators” that guide product development.
while the consultant came from a $100 though it may have been totally off the I recently had a discussion with the
million dollar company (both amounts mark. Meanwhile, he spent zero time in fellow at Radial who took over artist rela-
are an annual figure). the field other than going to trade shows tions and told him that he has one of the
I strongly believed that we could tap his to shake hands with old friends. He was most important jobs with the company:
experience and learn a lot that would help comfortably out of touch. Oblivious to to bring home the reconnaissance to help
position us for strong future growth. One the changing world. The business even- guide the product development team. It’s
of the best suggestions he offered was tually went under. also important to note that more often
instituting a weekly management meet- than not, these back-stage techs appre-
ing where all of the department heads TURN-SIGNAL INDICATORS ciate the visits because it makes them
could get together to discuss key issues I often talk of how many ideas for new feel relevant. The net result is more of
as well as how they could work better products germinated from backstage the company’s products find their way
together to improve systems, processes, discussions with audio engineers and onto the riders.

36 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 This way of thinking isn’t limited to could meet them, and he said go ahead. Fender and then Radial. Go figure. Mars
product development; it applies just as Upon arriving, I was greeted warmly and and Venus productively occupying the
much to sales. During the 1980s, I made escorted to the owner’s office. After get- same solar system. LSI
a point of visiting every nook and cranny ting acquainted for a few minutes, I told
across Canada to meet customers and him that I was wondering why we weren’t Peter Janis is the former CEO of Radial
educate them on our products. At this doing business together? Engineering, Primacoustic, Hafler and
point it’s important to make the distinc- He paused, thought about it, and Tonebone. He now runs [Link] where
tion between “sell” and “educate,” because replied that he honestly didn’t know the he assists business owners with their
when you educate, the knowledge that’s reason. Not long afterwards, that chain strategic planning, growth and eventual
imparted lasts and will be passed along. of stores became a good dealer for both retirement.
In the 2000s, I traveled through-
out the United States doing the same
thing, getting to know who the players

Let there be
were and gaining first-hand experience
of their individual markets, and then
moved along to meeting with distribu-

light
tors around the globe, educating their
customers with technical seminars. A
lot of time was also spent visiting retail
shops and rental companies to see how
they were doing things, what competitors
were selling, and where we might be able
to fill holes. This not only provided me
with valuable insight, but it also allowed
me to challenge our sales team when they
made statements that clearly came from
ill-conceived beliefs, not facts.

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[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 37

 In Profile

TAKING THINGS AS THEY COME

The diverse career of
multi-disciplined
audio professional
Suzy Mucciarone.
by Kevin Young

W
hen I spoke with Suzy Mucciarone in late last year,
she was enjoying some rare, if brief, time off in Fort
Lauderdale, her home base since relocating from Balti-
more in 2017. “I was tired of being cold,” she explains, laughing,
adding that although a trip to Alaska is high on her “bucket list,”
she’d prefer to go in the summertime. “For this little Aussie,
cold is a nice place to visit, but I don’t want to live in it.”
Ultimately the decision to head south when she did was
prompted in part by an ultimately successful but lengthy pro-
cess of becoming a Green Card holder (permanent resident) in
the United States – an effort that took over a decade. “It was a Suzy Mucciarone wearing one of her many “hats” in handling
long road and all very uncertain,” she notes, “and at any point monitor engineering duties on a concert tour.
it could have tanked and I could’ve been off home.”
Home now is a condominium she bought in late 2018. Owing taken on over time. This ranges from mixing monitors and
to her hectic schedule, however, it’s taken some time to set it front of house to system tech work for a myriad of corporate
up properly: “I just recently moved in so there’s still work to be applications, special events, and concert tours with the likes of
done. I actually cleaned out my storage unit two days ago and Counting Crows, Linkin Park, Josh Groban and the U.S. Army
brought all those boxes over. Basically I’m fixing the place up, Band “Pershing’s Own” Orchestra, to name a few.
just a few small projects to go. Once they’re done I’ll start to “Work is a combination of suiting your personality and your
enjoy the lifestyle down here and get myself to the beach a bit skills,” she states. “I was always driven towards the audio side of
more often. When I look out from my balcony I’m staring at a things and started very much in the analog world, for example,
golf course, so yes, I might give that a shot, too.” ‘carting’ (working with tape cartridges) for the radio station
Her success in live audio is, in fact, partially based on her in Perth. But I’ve always loved the production side of things. I
willingness to give things a shot, as well as her ability to adapt remember looking through a trade magazine in my high school
to new situations fluidly while embracing any challenge she music room and seeing this great, glossy photo of a mixing
encounters along the way. It’s an approach rooted firmly in console. I had no idea what it was or what it did, but it was all
the emphasis she places on learning all she possible can, from lit up and looking pretty and I remember thinking, ‘I’d like to be
everything she does and everyone she works with. behind one of those someday.’ And that’s how it’s played out.”
The real-life environment at the station, she often says, bore
THE RIGHT COMBINATION a striking resemblance to the television show “WKRP in Cincin-
Over time, Mucciarone’s career has involved fortunate circum- nati.” During her time there the station evolved substantially;
stances and unswerving dedication, both of which have helped moving from AM to FM, migrating to digital, and ultimately
her negotiate the path from working in radio in her hometown becoming one of the most technologically advanced in Australia.
of Perth, Australia, to touring with artists like Neil Diamond But when Mucciarone came onboard just after high school it was
(her first tour) along with taking part in high-profile events pretty old school, right down to an old 16-channel Soundcraft
ranging from presidential inaugurations to corporate shows console with “bullseyes” painted on it to identify where to bang
for companies such as Apple. it to stop it from making any unwelcome sounds.
Variety has always been important, and the emphasis she “It was moving into the role of a radio production engineer
places on it is reflected in the varied live audio positions she’s that set the hook for working in live sound. “I saw most of the

38 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

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 IN PROFILE

shows that came through the area, and

when we got to the stage where we were
doing more outside broadcasts – what
they call ‘car park concerts’ – and I got
into helping out with all those. That was
my first taste of live sound.
“Working in the studio was wonderful
but really isolating,” she continues. “So
that was part of a slow turn towards live
sound that happened over a couple of
years.” While that was a path she could
have taken in Australia, in order to “get
higher up the food chain,” as she puts
it, she knew that eventually she’d have At left, Mucciarone at work as a system tech on the U.S. presidential inauguration in
to relocate. 2009; at right, at the console for a presidential inaugural ball in 2017.
That said, her first trip to the U.S.
wasn’t predicated on moving lock, stock and barrel to a different
continent; rather, it began as a visit, a long-delayed holiday that
she and her co-workers had been discussing for nearly a year.
“In January 1999 we were comparing stories of what we did
on New Year’s Eve. Basically everybody just flaked out. So we
were all rather disgusted with ourselves and made a pact to go
to Times Square for the millennium. Everybody was gung-ho for
a while, but over the year that whittled down to being just me.”

MAKING THE MOVE

So, Mucciarone headed off to New York City on her own, watched
the ball drop to ring in the new millennium, spent a bit of
time in the city and also traveled around the state. It was in
Manhattan – by way of a chance meeting and conversation in
a laundromat with a local audio engineer – that she first heard Getting front of house set prior to a concert by the U.S. Army
about New York’s Institute of Audio Research (IAR) – the first Band show.
of a pair of fortunate coincidences that led her to move to the
US permanently. The second was renting a room in the East is her first love, she credits the many corporate shows she’s
Village from a woman who turned out to be lifelong friends worked on over time for further enhancing her ability to adapt,
with the Institute’s founder: “She called him and I got a tour deepening her audio chops overall and allowing her to “jump
the next day and walked away with a fist full of pamphlets.” in anywhere and do whatever needs doing.
After returning to Australia, she assessed her options and “Working in the corporate world taught me a lot, and I really
decided it was time to move on. Within six months she was did like it, but it was very fatiguing,” she continues. “I was
back in NYC, enrolled at IAR. “The radio station had changed just rolling from one show to the next, which was great, but
ownership and had become an unhappy place to be, so leaving it was tiring because there’s always something happening in
wasn’t a difficult thing,” she explains. “But I grew up in the (Washington) DC. And because I was based in Maryland, with
middle of nowhere and all of a sudden I’m living in New York the travel, they were really long days. But I got to do a lot of
City. So yes, you’re looking out your window, thinking, ‘Please unique things in very unique places.”
be kind to me.’ It was definitely a culture shock.” Ultimately, a mix of corporate work and touring works best
In 2001, just six months after graduating from IAR, Mucciar- for her, she says, citing her recent schedule, which included
one landed a full-time position at Maryland Sound International the VMAs (MTV Video Music Awards) and a weeklong Apple
(MSI) in Baltimore. Her first touring gig with Neil Diamond was gig. “A nice, even mix of both is a really good balance. I love the
temporary, she says, adding “but it really did show me what a consistency of touring, and the travel. I’m actually just starting
professional set up was like, the standards you need to aspire another run and heading into three in a row after wrapping the
to, and how to conduct yourself – the whole package. It was very VMAs at 4 am this morning. After that it’s iHeartRadio’s Jingle
fortunate for me to get that experience early on.” Ball. So that’s the next regular one for me, but I’m sure I’ll get
Ever since then fulfilling multiple roles – either temporarily a phone call to jump out and do something else in between
or long term – has been a hallmark of her career. While touring here and there.”

40 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

FILLING MULTIPLE ROLES
Recently Mucciarone also subbed in the house system tech on
the U.S. leg of the 2019 Rob Thomas tour. She has a history with
Thomas’ touring camp, she explains, owing to a recurring gig
as monitor tech for Counting Crows, who’ve toured with both
Matchbox Twenty and Thomas as a solo artist in the past. “I was
only out with Rob Thomas for a few weeks to fill in. I couldn’t
do the entire tour because I already had other items booked.”
That’s hardly an unusual situation. “Working with MSI, once
you become an A1 there, you’re pretty much able to fill any
position,” she says. “When I started out with them I was totally
green in live sound.” She began by doing tech in the shop, then
on stage, and moved along to PA, RF and comm work. Next
was a focus on monitor tech and then house tech. “I usually Enjoying “Bowling Night” with the crew during a Counting
did monitors for music performances, but for the corporate Crows tour in 2018.
work I was FOH/system tech. And recently I jumped back into
that, which is nice because that’s my old stomping grounds.” ingrained, rather than being a conscious thought pattern. It
Regardless of the role she inhabits at any given time, Muc- just comes with doing stuff over time, learning better ways to
ciarone emphasizes setting and maintaining high standards in do it, and refining it every time. Often, it’s a memory test. If
every aspect of the job: “It was just always instilled in me to do I’ve just done three or four months as a Monitor technician for
the best you can, so I’d like to think my personal standards are somebody, then, all of a sudden, I’m out at front of house or
high – that’s just part of me and what I do, but I’ve been very flying a different PA. I often have to stop and think, ‘OK, how
fortunate to work with some really well-known people on some does this work again?’”
great tours and shows. And I’ve had a lot of fun and done a lot The pace of technological change also factors into that, she
of hard work and I’m better off for it.” adds: “I’ve often told people that the biggest thing I miss about
There have been many standout moments and collaborations being in a full-time shop environment is my noodle time; putting
with others. “I’ve had the opportunity to work with a lot of the show together and having extra time to go through every
fine people in the industry who really have set the pace for a aspect of the system. That really does keep you sharp when you
long time and I feel very fortunate,” she says. “You learn from bounce from one show to the next.”
every person that you work with, particularly when you’re Since leaving MSI and relocating, Mucciarone has continued
building your knowledge base and skills, which really doesn’t to branch out, and now works as a freelancer, dividing her time
ever end. With every person and team you work with, you’re between Clair Brothers and Red Hook, NY-based Firehouse
looking to learn something about what to do or what not to Productions. That’s enhanced her ability to maintain an ideal
do and either putting that in your arsenal, or going, ‘I won’t balance of corporate and touring work, as well as to feed her
be doing that again’.” passion for travel: “One of the lovely things about touring is
She points to a number of such opportunities she’s had over the travel aspect of it, which I still really do love – particularly
time. Among them working with Ken “Pooch” Van Druten on internationally. I’m always up for discovering new places. That’s
a Linkin Park tour, doing multiple shows in various capacities a lovely plus to me.”
with the “Pershing’s Own” Orchestra, a run of shows at Sydney’s Granted there are drawbacks; getting ill on the road, for
iconic Opera House with Josh Groban, as well as touring with instance – an inevitable consequence of spending so much
Hall & Oates and The National. time in 45 feet of what’s essentially a rolling Petrie dish.
Occasionally, too, there’s having to deal with people who are
STAYING ON TOP OF IT somewhat harder to work with than others. “Yes, and some-
Every job provides an opportunity for growth, she insists, ref- times you see nothing more than the hotel, the ride to the
erencing the orchestral shows she’s worked as prime examples. gig and the ride back to the airport,” she says, quickly adding
“I remember the first time I actually heard an orchestra mixed that those inconveniences are far outweighed by the benefits:
indoors in a proper environment. I didn’t even realize the PA “I just take it as it comes, really.”
was on. If you had thrown me into that situation then I would’ve Ultimately that statement sums up Mucciarone’s approach
botched it completely because I would have thought of it as a to her career and her life overall, underpinning her ethic of
concert mix. Mixing front of house for that is a very different embracing every opportunity along with the challenges they
world than doing the broadcast.” may present, wholeheartedly and without reservation. LSI
When I ask if her approach varies substantially from one
position to another, Muccarione pauses to consider her answer, Based in Toronto, Kevin Young is a freelance music and tech writer,
then replies: “It’s not something I really think about. It’s just professional musician and composer.

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 41

 Spotlight

All of the images accompanying this article were taken by the author on an event site.

FREELANCE BASICS
A veteran’s guide
to going along,
getting along,
and consistent
success.
by Carl Stewart

M
ost of us will never mix front of
house or monitors for a head-
liner. Instead we’ll usually find
ourselves applying our finely-honed skills
for breakout rooms of various sizes at
corporate events or something similar, I’ve been doing corporate events large and • Never assume that you know more than
and even those of us who have been small for more than 25 years. another A1, A2, or audio technician, and
around for a while might find it useful Attitude comes first, before anything if it becomes evident that you do, never
to review the basics. of a technical nature, followed closely act like it. Mutual respect goes a long way
First, a bit about myself, because it’s by etiquette. A good attitude and simple toward a positive work environment and
always good to know a bit about the manners will go a long way with the client a happy client.
person who’s trying to give you advice. and with your fellow workers. After that, • Never, ever touch another engineer’s
I got a belly full of touring in the early here’s a list – in no particular order – of mixing board unless you’re asked to do
1980s when I was a keyboard player with things that I find keep me in demand as so directly. Even if the crew lead tells you
a 25-piece show band that toured world- a freelancer: that he wants all mixing boards in the
wide. Anyone who wants it can have it. breakout rooms to be set a certain way,
I find that one advantage of living in • Never speak directly to the client you’re only to relay the message unless
the mouse house (Orlando) is that the unless the client first speaks to you. Your instructed otherwise. Making adjust-
work comes to me. I like being in my own direction comes from the crew lead, who ments or changes on someone else’s desk
bed at night next to my own wife of 34 answers to the technical director, who is a fast and sure way to make enemies.
years and going fishing once a week on a answers to the producer. Always follow • Always conduct yourself as if the client
weekday in the creek that flows through a the chain of command so that everyone is standing next to you. You’ll be sur-
nearby forest. I call it my weekly therapy. is in the loop. prised at how often it will be true.

42 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 SPOTLIGHT

find yourself having to adjourn to the

restroom a bit more often, but it sure
beats the alternative.
In closing, an anecdote: I received a
stagehand call a couple of years ago to
work with an audiovisual company from
out of town. It didn’t take long to see
that these folks hated “locals” – and they
made no secret of it. To them, we’re nec-
essary evils.
One fellow was having some technical
difficulties, so I offered a suggestion,
after which he lit into me with words I
haven’t heard since I was in the military
some four decades ago. I didn’t respond
to his tirade except to apologize because
I hold myself to higher standards. It did
• A good sense of humor is always wel- YouTube is your friend for learning or if serve to remind me why I don’t give sug-
come, but make no mistake, we’re all a refresher course is needed. gestions or advice unless and until I’m
about business and getting the job done. • Never upload photos to social media asked. “No, boss, you’re right – I don’t
If a client sees us standing around mak- during an event. We all like to take photos know nuthin’!”
ing jokes, he or she will wonder what it’s to document and show our work, but I’ve Crew leads and producers are usually
costing him/her, and that’s something lost count of the number of times I’ve pleasantly surprised by the breadth of the
you don’t want the client to be doing. (By seen techs and hands escorted off the knowledge, experience, and work ethic of
the way, have you heard about the one property and banned from the show for the pool of local freelancers in Orlando
about the audio engineer who walks out violating this one. Companies guard their with whom I’ve developed a great work-
of a bar? Hey, it could happen!) trade secrets and confidential informa- ing relationship over the years. We see
• We all have a better way of doing tion zealously, and they do watch social each other on the job frequently and work
something, but only one person has the media closely during an event. This well together. I hear some complaining,
responsibility of making that decision. includes selfies and photos of you with of course, but I can’t remember the last
There are countless situations where your pals. Don’t do it. time I actually witnessed a full-blown
we’d do it differently if it were up to us, • Stay hydrated by drinking water, sports conflict. We all seem to do well and stay
but it wasn’t up to us, so we do as we’re drinks, and/or juices. (I personally use busy because we always remember the
told. On the upside, if it doesn’t work sodas for cleaning battery cables on my basics. LSI
out or something goes wrong, we’re off car, but I don’t drink ‘em.) This is par-
the hook. ticularly true in locations like central Carl Stewart has more than 25 years of
• Always treat stagehands and riggers Florida, where summers are brutal and experience as a freelance live sound engineer
with respect, and never talk down to the trucks become ovens. If you become for corporate events in Orlando.
them. You don’t want to find out why. dizzy or weak, or
• Speaking of riggers – everyone should you’ve stop p e d
inadvertently disconnect the rigging sweating, you’re in
power on a truss once. I guarantee that an emergency sit-
you’ll never do it again! uation. Stop what-
• Always coil cables using the over/under ever you’re doing
method. It’s industry standard. If you and cool down
don’t know what that means or how to immediately. Heat
do it, leave the cables alone and review s t roke i s o f te n
Stagehand 101 lessons. You’ll also be [Link] even if
wondering why there’s an overhand knot yo u ’re wo r k i n g
about every 12 inches when you’re trying in an air-condi-
to lay cable. tioned ballroom,
• Every engineer, stagehand, rigger, and you’re losing mois-
sailor should know basic knots – bowline, ture with ever y
clove hitch, slip knot, and trucker’s hitch. breath. Yes, you’ll

44 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

info@[Link] dBTechnologies [Link]
 First Look

INFORMED VISION
Inside new Staten Island-based
loudspeaker manufacturer 1 SOUND.
by Live Sound Staff

L
ast year, 35-plus-year pro audio tion comes from necessity and want. What
veteran Lou Mannarino launched does that mean? For example, I looked at
1 SOUND a new loudspeaker front fills and want to make sure that part
company based in his hometown of Staten of the audience has the same experience as
Island, NY with a primary goal of creating everyone else. Two years later, with a lot of
loudspeakers in the United States. hard work and a team of talented people,
“I believe in product being available at MS loudspeaker technology is our answer.”
all times,” he states. “The Amazon model
of everything, right now, has put pressure EXPANDING THE IMAGE
on audio providers to deliver. Producing Perhaps best described as a “2-channel Lou Mannarino at 1 SOUND headquarters
in the U.S. is more efficient, especially point source loudspeaker system,” MS in Staten Island.
for the U.S. as a customer base. Quality (mid/side) technology starts with decon-
control is also at its best. It’s certainly structing a stereo left/right signal, divid- the addition of a nearfield reproducing a
less expensive than certain locations, and ing it into a mono (mid) plus figure-8 coherent mono and the space created by the
we’re finding ways to compete on cost sides. The result is a mono plus stereo stereo is an important development,” Man-
with other off-shore sources.” sides from a single compact loudspeaker narino explains. “It’s not an effect or even a
During his career, Mannarino has – all listeners in the sound field hear full digital sampling. It’s analog, and something
designed and engineered for some of the dimensional stereo imaging along with a very useful for not only front fill but also
biggest artists in music – across multi- phase coherent mono center, eliminating distributed installations, under balconies,
ple genres – including Akon and Jay Z, the need to be in the “sweet spot.” outdoor parks, and other applications.
Dizzy Gillespie, Paul McCartney and Jon The initial model with this technology is “Locations currently covered by dis-
Bon Jovi, Rihanna, Wynton Marsalis, the the MS34, a low-profile enclosure (just 5.5 tributed loudspeakers can now be bet-
Lincoln Center Jazz Orchestra, and the inches tall in horizontal position) loaded ter served by the MS34, providing mono
New York Philharmonic, among many. with a 4-inch coaxial driver (1-inch com- clearer than usual because the stereo
He’s also created systems and mixed in pression driver), dual 4-inch full-range image is separated out – plus the space
classic venues like Madison Square Garden, transducers, and dual 3.5-inch passive radi- intended by the original mix.”
Carnegie Hall, The Beacon Theater, Lincoln ators. It also includes an M+S/Mono switch
Center, and The Hammerstein Ballroom, that transforms it into a mono line source
for theatres at educational institutions (vertical or horizontal) for long throw with
such as Columbia University, and at spaces 5 dB more output than MS mode.
that include the Metropolitan Museum of “I still mix the New York Philharmonic
Art, Waldorf Astoria and MoMA. shows with a limited stereo image, so
On top of all that he’s the founder and
owner of Staten Island-based L&M Sound
& Light. This resume informs his overall
vision of creating compact, full-range
loudspeakers with versatile mounting
accessories, clean and elegant form fac-
tors and detailed control over coverage,
as well as fueling a desire for innovation. The CSUB210, steerable sub with a choice
“My experiences in our field empow- of omnidirectional, end-fire and cardioid The low-profile MS34 loudspeaker with
ers with many new ideas to develop,” he modes, joined by an isobaric plot of its mid/side technology, available in both
notes. “It seems that most of my inspira- performance. black and white enclosures.

46 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 The 1 SOUND line also includes compact IT TAKES A TEAM
coaxial loudspeakers designed to provide Key players joining Mannarino at 1 SOUND
natural sonic quality and precise imag- include a product design team led by Mario
ing, as well as compact subwoofers. One Dicola of Contralto Audio, with Lindsey
The MS Controller is a necessary for the
model, the CSUB210, is a steerable dual MS34 to operate in MS mode, but isn’t
Mannarino (Lou’s wife and partner) serving
10-inch sub with a choice of omnidirec- needed when the loudspeaker is in mono, as the production supply manager, with the
tional, end-fire and cardioid modes via line source mode. production team headed by Jose Luis Leon.
amplifier presets. Industry veteran Josh Radin operates as
speaker system must sound the same. head of sales and the customer relationship
WHERE THE PROCESS BEGINS Our tolerances are tight.” manager, with long-time colleague Ron
In Mannarino’s view, everything starts Manufacturing also presents its own Lorman assisting with his years of expertise
with the right drivers: “Selecting trans- set of unique challenges, including the and passion for audio.
ducers is first about setting clear tar- critical aspect of managing the supply “I grew up in audio decades ago when
gets and objectives for performance chain to work in a timely and consistent there weren’t many choices for good
with respect to form factor, and then manner. It’s also crucial to identify and working gear,” Mannarino concludes.
designing them to achieve those goals. rigorously uphold a list of objectives as “Today there are many wonderful com-
Almost every transducer is something well as setting the stage for the produc- panies to choose from with many of the
that has been developed for us with tion team to succeed. exact tools that are needed. I believe the
much prototyping. Another vital facet is this regard, he most important role our company plays
“We utilize four Clio testing systems to adds, is being a good listener in truly is to support sound designers, engineers
triple check every aspect of the produc- hearing the challenges of others in the and integrators with our collective expe-
tion phase, with field and final testing as industry, noting, “It’s not about making rience, knowledge and product to help
well,” he continues. “I’ve always believed the kick drum sound like my favorite kick them make the best available choices for
consistency of each transducer in a loud- drum.” their customers.” LSI

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EDITION

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[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 47

 Insight

BRINGING IT HOME
The final chapter
in the discussion
on doing theatre
sound on a
budget.
by George Georges

P
reviously (LSI November and
December 2019), I explored the
challenges we face at City College
of San Francisco (CCSF) when it comes to
sound design with tight budget restric-
tions and the related issues. Here, I’ll
detail our processes and strategies for
a recent production achieved without
spending a dime. The mix position at the Diego Rivera Theatre for “Mamma Mia.” Key components include
In this world that’s so connected by a Waves eMotion LV1 mix system and Behringer X32 digital console.
– and reliant on – technology, as sound
designers we must understand that the limitations of the performers or the telling so the singers must shine over
technology can’t solve every challenge, technology at hand. As a sound designer, the band because the words drive the
and further, we must explain this to the I would never attempt to tell directors storytelling forward.
other members of the creative team. For how to direct the production, so directors I put wireless mics on the seven prin-
example, 25 wireless microphones can’t shouldn’t tell sound designers how to cipal singers for the entire show, and two
be un-muted on stage at the same time design the sound. more wireless mics moved between five
without creating feedback issues, not to All that is necessary is for directors to soloists. The dialogue was not amplified
mention that it will sound like mush. express the challenges that are at hand to create a contrast with the songs, which
Over the years when I’ve asked a and to depend on the talents, creativity, let the magic of the music sparkle.
director what the wireless microphone resourcefulness, skills, and experience
needs are for a musical, the typical of the designer – just as they depend on
response is “How many do you have?” performers to know how to sing in key
[Cue buzzer sound effect] “Wrong Answer,” and remember their lines. Collaboration
and unproductive because the question is the key and there’s no substitute; when
is being answered with a question. The it’s disregarded, the results are usually
point is that it indicates they lack an unremarkable at best.
understanding of the technical aspects
of sound design and that they haven’t GETTING ORGANIZED
thought about how the sound design will This past semester at CCSF we presented
impact the storytelling. the musical “Mamma Mia.” Since the
I never expect directors to understand show is based on the music of ABBA, it
sound design with the kind of depth I do, has songs that people know well, which
of course, but it’s not too much to ask poses its own unique challenges. Each The M/S microphone configuration flown
that they think about what best serves song is its own independent little story on the upstage side of the unit set to
the storytelling – without fixating on which contributes to the overall story- effectively capture the sound of the band.

48 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 “Mamma Mia” had a unit set, which
is a setting that’s affixed to the stage
and doesn’t move (at least very much)
during the show. The unit set for this
show included a taverna, a boat dock and
rock walls located upstage, with the band
further upstage of that – positioning that
diminished their sound and impact.
To add a bit more punch and presence,
I positioned a mid/side (M/S) micro-
phone on the upstage side of the unit
set, mounted about nine feet above
the stage. Placing the mic there helped
with picking up the band nicely, and it
provided me with added control over
volume and stereo image. Further, the
principles of the M/S configuration A look at the boundary and shotgun mics deployed along the front of the stage.
offered more control over the balance
between the singers and the music. I
blended the band sound in with the sing-
ers during each song and then adjusted
the mix to taste.
The way that the production was
staged, much of the background singing
needed to be done from backstage, requir-
ing another M/S mic for those singers.
This sound was also mixed with that of
the vocalists on stage. Backstage, where
they sang their cues, they could see the
conductor and could stand similarly for
each performance. I found that using the
backstage M/S mic and mixing it appro-
priately produced an additional air of
“sparkle” that helped recreate the magic
of the vocals of ABBA.
We also deployed both f loor and
shotgun mics on the stage. Five Crown
boundar y mics were located on the
downstage edge to help pick up the
voices of singers on stage that were not The cue sheet for sound the author put together for the show.
wearing wireless mics, and two Sennhe-
iser shotguns in about the same location DIALING IT IN I’ve discovered over the years that call-
helped better capture the singers posi- There were very few sound effects for this ing mic cues in this manner takes much
tioned upstage. production; the small amount we did use of the cuing pressure off the entire crew.
These mics were also helpful with was from my recordings captured in the The stage manager is following the script
monitoring. Because of the unit set, the field and edited together. I was fortunate anyway, so the sound cues are just inte-
conductor and band couldn’t clearly hear to have an assistant sound operator for grated much like the lighting and any
the singers, so I did a send from the mics this production who played the sound additional cues. I like to letter the sound
to monitors in their region, which helped effects and turned the wireless mics on cues so that they can be distinguished
all of the musicians stay synchronized. and off on cue. I went through the script from other cues, especially lighting which
Many actors and singers could also hear thoroughly to mark when each wireless are usually numbered.
the show backstage so that they could mic was to be turned on and off. The stage A cue could be called in this manner:
cue their entrances and know what part manager then copied them into their “Cue 14F, Go,” and from those four sim-
of the show was happening. book for cues during the show. ple words we know that lighting cue 14

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 49

 INSIGHT

and sound cue F both go at the

same time – very efficient and
clear. We don’t use “Q” or “W”
in this nomenclature because
they could create confusion;
how would you call cue “Q.”
When we run out of single
letters, it goes double and
then triple letter cues, i.e., “AA”
and “EEE,” but for clarity, we
say “Double A” and “Triple E.”
Documenting everything and
following the script is key to
this method succeeding.
Having an assistant sound
operator left me free to mix
and optimize the aural experi-
ence for the audience. Thanks
to 16 motorized faders on my
soundboard, I had great con- A look at the mix on the screen, with the Waves platform also fostering easy application of plugins.
trol of the mix in real time.
I took advantage of the five dress and mix the audio thus eliminating the Two iPads came in handy as well; one
rehearsals to adjust the plugins and over- routing limitations of the X32. This also providing control of the X32 that sat along-
all mix so that during the actual perfor- allowed me to use Waves plug-ins live. side the assistant sound operator, the other
mances, the only adjustments were minor allowing me to mix both backstage (moni-
and mostly for taste. The Waves eMotion FINISHING IT OFF tors for the conductor and band), and out
LV1 system handles the mix, plugins, Plugins that proved helpful with this in the venue (house system). Being able to
and all the routing, leaving the X32 as production were the Waves X-FDBK, F6 wander around, iPad in hand, helped get
a wireless mute control. It eliminates dynamic EQ, and the SSL G-Channel. The things balanced. The mixing of this show
some of the routing limitations of the X- FDBK offered extra gain to add more was a joy and I learned so much.
Behringer X32, which restricts routing punch to the singers while the F6 tamed I designed and implemented the sound
of the channels of the mixer to groups the frequency and dynamic content of for “Mamma Mia” with a budget of zero-
of eight if your firmware is older than the voices for a more “studio mic” quality. point-zero-zero dollars (in other words,
version four. G-Channel provided the perfect way to $0.00). All of the years of careful planning
I put the X32 channel faders at unity finish off the EQ and to put the dynamic and spending paid off. I didn’t buy a sin-
and the assistant sound operator worked range where I wanted it. There was no gle thing for this show, exclusively using
with the stage manager to appropriately more than about 3-4 dB of boost or cut existing departmental (and personal)
mute and un-mute the wireless mics on in any setting because these plugins were equipment, right down to the recharge-
cue and I used the eMotion LV1 to route so effective. able batteries for the wireless transmitters.
I’ve said it a few times but will repeat it
once again: the challenges that the sound
designer faces in the theatre can only be
overcome by the proper utilization of
their talents, skills, experience, resource-
fulness and creativity. Budget limitations
are only challenges to overcome. LSI

George Georges has been a sound designer

and stagehand/technician for live theatre in
the San Francisco Bay Area for more than
30 years. He’s also guided high school youth
in technical theatre for a dozen years and
is a licensed electrician in the state of Cal-
ifornia. Reach him at ggeorges@[Link].

50 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

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about this exciting new location.
 Road Test

QSC TOUCHMIX-30 PRO

Evaluating the digital
mixer and its latest
firmware update.
by Samantha Potter

I
’ve been working with a QSC itself just off stage.
To u c h M i x- 3 0 P r o ( T M 3 0 ) T he fader pack
The mix surface of the Touchmix-30 Pro, with additional capabili-
compact mixer for a couple of allowed me to tab
ties provided via new firmware.
months now, pushing hard on the lat- through pages and
est firmware update (v2.0.11265, to be see any mix with-
exact). The overall form factor of this out having to take my hands off the pack
mixer is small and sturdy; it can be eas- itself. The more I played with the faders,
ily placed in any tight front of house or the more I came to like them. It was plug
rack space. Digital desks these days seem and play, which I always appreciate. Also
to be having larger and larger footprints, new is an External Faders mode that dis-
so I appreciate the compact footprint. plays a channel strip view on screen when
I/O facilities provided on the back of the
The TM30 offers 32 inputs (24 pre- used with an external control surface.
mixer.
amps) with 14 aux outputs. Six of the Another aspect that stands out are
inputs are 1/4-inch jacks, and there’s also analog gain knobs. That said, there isn’t
a 1/8-inch stereo jack. For many produc- a way to entirely control the gain trim
tions, “24/6/2” provides plenty of inputs. from scene to scene. The onboard DSP
The main control point is a 10-inch does allow +/- 15 dB of digital trim,
touchscreen and a large encoder knob which comes in handy for many applica-
meant to be used in tandem. It took tions where there are slight, if any, gain
some getting used to, but I eventually changes between scenes.
enjoyed working with these two elements
together. The work surface also includes WORKFLOW
buttons for navigating between menus The team at QSC has created a workflow
and other dedicated functions, and eight that’s easy to understand and quick to
of them are user assignable. pick up on, particularly with this latest
There are no physical faders on this update. This mixer was created for all users More Stuff – TM30 can be further
desk, which for some is a non-starter, in mind. As a professional who teaches enhanced when connected to iOS and
but for those who mix frequently on audio to newcomers, I can appreciate both Android devices and smartphones using
iPads/tablets, it shouldn’t be an issue. the advanced features as well as the simple the Touchmix Control app.
Also note that the new firmware version ones for those who are just getting started.
provides support for external third-party, Unlike some big-name boards, nothing The copy and paste function is very
motorized-fader control surfaces directly is hidden deep in a menu. Anything one much worth noting. You can be on nearly
connected to the mixer or to an iOS tablet might need is one or two taps away. It’s any screen, hit the copy button and paste
via MIDI-over-USB. intuitive and doesn’t force you to deci- it into another channel or output. Want
With the right dongle, users can plug pher what the designers were thinking. to copy that monitor mix to another? Just
the external faders straight into an iPad For example, if you want to change some- have the aux mix open and hit copy, select
and have fader control from anywhere (as thing about aux 9, simply select aux 9 the aux you want to paste it to, then hit
long as there’s an outlet nearby.) It was master, then hit setup and change assign- the paste button.
fun experimenting with this new kind of ments, routing, delay, pickoff, or even The same goes for EQs, compressors,
interactivity. I found that I preferred using a preset you’ve saved (or one QSC has mixes, channel settings, nearly anything.
the faders with my iPad, locating the board built for you.) I timed myself to build a scene from

52 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

scratch and between the copy/paste func- PROCESSING & PRESETS drum kit, harmonica, flute, cello, accor-
tions and some presets, I was done in The TM30 can take a beating. I tried to dion and various Banda instruments. The
less than nine minutes. The scene I built find holes in the processing by pushing good news is that if you want to load a
included 22 inputs, aux-fed subwoofers, the board hard with an 8-piece funk band: preset but only want to use some of the
high-pass filters on every channel, three eight mono IEMs, 28 inputs, and sub- parameters, you can omit things like
different effects, eight monitor mixes, woofers on aux. Beginners can switch routing, names, fader levels, and so on
and dynamics on four channels. parameters (if not the entire mixer) into upon recall.
Custom fader layouts are becoming a “Simple Mode” to have an easier, less- Of course, users can also create and
staple in digital boards and the TM30 is knobby approach to some of the process- save their own presets, which can be
no exception. The new firmware adds three ing. I went with “Advanced Mode” to see handy if you’ve got, say, two singers who
Custom Fader Banks that can be config- how far I could manipulate things. share a lot of time on one particular mic
ured with any combination of input, out- There’s no skimping EQ bands and it’s – easily recall the preset for each person
put, FX return, subgroup and DCA group greatly appreciated. The outputs and sub- as they use it. Before firing away with
faders. These can be arranged any way the groups all have six bands of parametric generating your own processing presets,
user sees fit; for instance, I like to put my EQ (PEQ) as well as a HPF and LPF. The I advise giving QSC’s a try. (By the way,
DCAs and subgroups on one screen. inputs have four bands of PEQ as well as adjustments were also made to vocal and
Once caution about the TM30’s boot HPF and LPF – I don’t find true LPFs on bass presets in the new firmware.)
and cache functionality. Once power has many mixers in this market. Perhaps in
been completely pulled from the mixer, it the next firmware update the company can FINAL ANALYSIS
takes a solid minute to boot up and when make the HPF and LPF slopes adjustable. The TM30 delivers, period. The controls
it does, each page needs to be re-entered Scene and input presets go against my it offers aren’t often found in similarly
into the system’s cache. By this, I mean natural instinct, so I was reluctant to even priced mixers. As noted, the ability to
every new page has to be “built” when you dabble. However, the scene presets were change the slope of the HPF and LPF
select it. Once it’s already been selected, a complete surprise and as I dug deeper, is something on my wish list. Another
it flips as fast as lightning. I came to appreciate the way they’re cre- valuable addition would be flexible rout-
As an alleviation, upon boot I flip ated. At a house of worship application, ing. Currently, you can double-patch and
through every page. It only takes about 10 for instance, I could recall a praise scene, change physical input and digital input
seconds to go through them all and then it’s it would have everything routed for me, routing, but I’d love to be able to change
good to go. On the plus side, audio starts and further, it would even tell me how to the output routing – it would add another
up as soon as the home page appears, so run the actual cables. This makes setting level of functionality above this mixer’s
cached pages or not, audio is passing. up from scratch considerably less fright- paygrade. And while the auxes are all
There’s also an app for mixing via ening while leaving plenty of room to color coded, users can’t assign colors to
mobile devices, and what I like about build out and customize. each of the inputs; it would help to be
it is that I could approve every person The input presets are great starting able to glance and see color instead of
who wanted to connect to the mixer and points for someone who’s a little timid having to read channel names.
decide what they had access to explicitly. when it comes to EQ experimentation. I worked with the developers at QSC
It’s a superb level of control. Unlike many I’m not a fan of boosting EQ except in very during this trial and made note of every-
other boards, the iPad control of all the specific circumstances, but as I was fully thing I saw that could upgrade as well
TouchMix boards is exactly like what’s exploring what this mixer had to offer I as everything I wish it could do – these
seen on the mixer itself, so jumping did find that these presets were chosen a folks were great every step of the way.
between the two takes zero effort. little more carefully. QSC has done some I can be very picky, but I know what I
research and worked with like and what’s needed in the trenches
a lot of touring engineers of live sound reinforcement. That said,
to find out the EQs that the TM30 is great as is, as I’m sure is the
we’re actually using, not case with the smaller models as well. LSI
just some stuff thrown U.S. MAP: $2,099.99
together that they think
we’d like. Samantha Potter is senior contributing
In the firmware editor for ProSoundWeb and Church Sound,
update, the company has and she’s also co-director of Church Sound
added more input chan- University. In addition, she serves as an IT
nel presets for percus- media supervisor and system design consul-
sion (i.e., cajon, djembe, tant in the house of worship sector in addi-
The TM30 in action at a recent gig with the author. timbale, etc.), electronic tion to working as a freelance mix engineer.

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 53

 World Stage

SIGNIFICANT DEPLOYMENTS
Recent applications from
several locations around
the globe.
by Live Sound Staff

LUCK OF THE IRISH THRIVES WITH WINNING

MIX APPROACH

Irish Fest in Milwaukee, an annual celebration of the music and

culture of Ireland, employed dLive and SQ Series mix systems
from Allen & Heath for several stages. Held downtown at Henry
Maier Festival Park along the shore of Lake Michigan, Irish Fest One of the Allen & Heath dLive surfaces – this one for monitors –
2019 featured 100 musical acts and 300 different performances deployed for Irish Fest in Milwaukee.
spread across 16 stages. With Clearwing Productions (Milwau-
kee) handling the bulk of the event’s sound reinforcement needs, show would be very dynamic and cross over from small intimate
Ingleside, IL-based independent rep firm Audio Biz deployed scenes with orchestral underscore to massive rock moments,
five dLive and six SQ Series consoles across seven stages plus the transitions of which could easily fall apart,” he says. “This
a preshow/demo suite. drove my decision to specify an L-Acoustics system, as I knew it
Among the dLive systems were S5000 and C3500 control would remain sounding effortless across these different styles.”
surfaces supported by DM48, DM64, and CDM48 MixRacks. With SSE Audio, now a Solotech company, kicking off the
Deployed on smaller stages where space was at a premium, worldwide trek in the UK and Europe, Solotech system engineer
SQ-5 and SQ-6 systems ran both the house sound and monitors Alexandre Bibeau notes that the second and fourth legs of the
simultaneously from a single control surface, with DX168 and tour visited arenas in the U.S., Canada and Mexico. Performances
GX4816 taking care of I/O. were presented via main arrays of 16 K2 per side, each backed by
“Bands and engineers came in for the event from all over the six flown KS28 subwoofers and flanked by 14 more K2 as side
country and Ireland,” says Shawn McLoughlin of Audio Biz. hangs. Additional arrays of 12 Kara enclosures each addressed the
“And while most of the engineers had heard of the dLive and extreme left and right seating areas three smaller arrays of eight
SQ Series consoles, not quite everyone had worked with them Kara – on axis with the main PA – were used for upper level delay.
yet. That’s why we created the preshow/demo suite, which was
outfitted with a dLive S5000/DM64 and an SQ-6. The idea was
to provide a space for everyone to familiarize themselves with
the desks and prep for their shows before they actually went
out to face the crowds.”

A SYSTEM DESIGNED TO HANDLE THE MAN.

THE MYTH. THE SHOW.

Solotech served as the sound reinforcement provider and

deployed an L-Acoustics K2-based system for entertainer Hugh
Jackman’s 90-show global concert tour known as The Man. The
Music. The Show. It showcased him performing material from
both classic Hollywood and Broadway musical numbers, backed
by a five-piece band and 14-member orchestra.
Sound designer Colin Pink was involved in the project from A view of the Hugh Jackman tour’s house right L-Acoustics K2,
an early stage. “From initial talks, it became evident that Hugh’s KS28, and Kara arrays.

54 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 Solotech also carried a quantity of short throw enclosures for
extra fill applications, two additional ground-based KS28 subs for
added low-end impact, and 49 LA12X amplified controllers housed
in LA-RAK II mobile racks. In addition, Bibeau utilized two new

PHOTO CREDIT: LIVE PRODUCTION INDONESIA

L-Acoustics P1 processors, and with the full system using AVB
protocol, four Avnu-certified Extreme Networks AVB switches.

LARGE-SCALE SYSTEM OPTIMIZATION IN

MEXICO CITY

For a celebration of the 209th Independence Day of Mexico in

Zocalo of Mexico City, Sensey Electronics education and support
manager Jorge Araiza designed and optimized a large-scale
sound reinforcement system to supported the occasion. A key
component of his measurement approach was a MIPRO TA-80
digital wireless transmitter. Clair Brothers i218 arrays flanking Guns N’ Roses in Jakarta.
“I used the TA-80 to optimize all of the system, including
main PA, out fill, front fills, and four delays,” Araiza explains. ROCKING GBK STADIUM WITH GUNS N’ ROSES
“It was an easy job – the TA-80 allowed me to move a measure- IN JAKARTA
ment microphone to the places that I needed it without using
hundreds of feet cable. In large venues like this, the use of the More than 48,000 people at GBK Stadium in Jakarta were
cable is simply out of place.” treated to a set of new and classic songs from the Guns N’ Roses
He adds that reinforcing the voice of the president of Mexico, library on the band’s recent tour, with main sound reinforcement
who participates in the annual event, is also a top priority. “To headed by Clair Brothers i218 loudspeakers.
be sure that it (his voice) has the level and the clarity we need to In tandem with the four main hangs with sixteen i218-Ms
cover up to 100,000 people, I use the TA-80 placed 100 meters in each, there were thirty-six iS218-M ground subs, twelve
away from the system, and it allowed me to measure the levels i212-M front fills, plus four delay towers with eight i212-Ms
and the frequency response. We were able to achieve levels of in each tower. The loudspeakers were driven by Clair Brothers
91 dB (SPL C) as well as exceptional frequency response from CB-PLM20K amplifiers, with a Yamaha RAVAGE PM10 console
300 to 4,000 Hz.” at front of house.
“Front of house engineer
Caram Costanzo produced
an amazing mix that sounded
great throughout the whole
stadium,” states Wayne
Grosser, audio consultant for
Clair Brothers in the region.
“The system engineer for
the tour, Josh De Long of
Clair Global, and I worked
together to ensure we had
even sound coverage for
every audience area. This was
a special show in that the
Clair Brothers loudspeaker
system used was called on
to perform in a pinch at this
concert. When all was said
and done, Caram, Josh and
the rest of their team were
ver y impressed with the
i218-M and i212-M system.
The scene in Mexico City where Jorge Araiza employed a MIPRO TA-80 wireless transmitter as a key The fans seemed to be pretty
component of his measurement kit. ecstatic, too.” LSI

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 55

 Tech Topic

INSIDE AUDIO FILTERING PART 2

More fundamental FIR filter
concepts & applications
in loudspeakers.
by Michael John

I
n part 1 of this series (LSI Novem- speaker processor
ber 2019), we introduced basic has approximately
digital audio concepts, the FIR 24 IIR biquads for
filter, and also compared IIR & FIR filters high-pass (HP),
in terms of EQ performance and impulse low-pass (LP),
response length. Now let’s continue the shelf and para-
comparison, considering computational metric filters, and
complexity and the key benefits of FIR 2048 taps of FIR.
filters. Table 2 compares
As previously noted, FIR filters are the computational
more computationally costly than IIR cost of both. From Part 1, comparing simple FIR and 1st & 2nd order IIR filters.
filters. Consider some of the simple
IIR and FIR filters shown in Figure 1. FIR FILTER BENEFITS INDEPENDENT CONTROL
When estimating and comparing com- If FIR filtering is so computationally OF MAGNITUDE & PHASE
putational costs, we generally look at costly, what are its advantages? There With most IIR filters, the phase response
the mathematical operations – multipli- are two primary benefits: is inherently linked with the magnitude
cations and additions. We assume that response. (One exception is the IIR all-
a processor can calculate a “multiply” 1) Independent control of magnitude and pass filter.) A huge benefit of FIR filtering
and an “add” effectively in the same phase, and is the ability to manipulate magnitude
operation; therefore, we can ignore the 2) More detailed equalization (including and phase independently. Following are
additions and just count and compare easier filter creation from a desired four FIR filter examples. Each have the
the multiplications. frequency response). same magnitude response but very dif-
The 1st order IIR filter has three coef- ferent phase responses.
ficients that need to be multiplied with Let’s explore each of these further. Example 1: Minimum-phase FIR filter.
the audio samples, and so we estimate
the filter to take approximately 3x the
sample rate operations per second. The
FIR filter has N coefficients (where N
is the filter length) and so we estimate
the FIR filter to take N x the sample rate Table 1: Comparing multiplications per second for IIR and short FIR filters depicted in
Figure 1. (All the “x” numbers are the FIR multiplications divided by the multiplications
operations per second. Table 1 compares
the IIR filter in the same row.)
the Figure 1 filters.
In part 1, we’ve seen in the examples
how approximately 40 taps or more are
needed for the FIR filters to approximate
the IIR filters, and Table 1 shows that
this comes at the computational cost of
8 times or 13.3 times that of the IIR. Table 2: Comparing multiplications per second for IIR and FIR filters for a typical DSP
Typical Processor Output Channel. As at the output channel. (Again, the “x” number is the FIR multiplications divided by the multipli-
writing of this article, a common high-end cations of the IIR filters.)

56 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

Figure 2: Above, minimum-phase 2048 tap FIR filter impulse re- Figure 3: Above, linear-phase 2048 tap FIR filter impulse response
sponse (dark green) and dB magnitude of the impulse response (dark green) and dB magnitude of the impulse response (light
(light green); below, minimum-phase 2048 tap FIR filter frequen- green); below, linear-phase 2048 tap FIR filter frequency re-
cy response (both fs = 48 kHz). sponse (both fs = 48 kHz).

the acoustic output with the electrical

signal into the driver). When using min-
imum-phase EQ to bring a loudspeaker
driver’s magnitude response closer to
“flat,” the phase of the loudspeaker driver
also flattens and moves closer to linear
phase (at least within the audible pass
Figure 4: Above: maximum-phase 2048 Figure 5: Above, mixed-phase 2048 tap FIR
band of the loudspeaker).
tap FIR filter impulse response (dark filter impulse response (dark green) and
green) and dB magnitude of the impulse dB magnitude of the impulse response
However, in a typical multi-way loud-
response (light green); below, maxi- (light green); below, mixed-phase 2048 speaker, the IIR HP and LP crossover
mum-phase 2048 tap FIR filter frequency tap FIR filter frequency response (both fs filters (as well as polarity, delay and
response (both fs = 48 kHz). = 48 kHz). acoustic filters such as ports) all add fre-
quency-varying extra phase. Because of
Previously we showed how both IIR and same magnitude response but with this extra phase, a multi-way loudspeaker
FIR filters use sample delays (as well as maximum-phase; this is the opposite can be thought of as a minimum phase
coefficients) to achieve their intended or inverse phase of the minimum-phase system PLUS some all-pass filters.
changes in the frequency response. A filter above. The impulse response is Because minimum-phase EQ generally
minimum-phase filter effects EQ while the time reverse of the minimum-phase doesn’t affect the all-pass behavior, we
adding the least amount of delay to the impulse response and so the bulk delay can use FIR filtering to move the phase
audio signal. (This is one of the reasons through the filter is approximately the of the loudspeaker to where we want it.
long FIR filter-based EQ in PA systems is length of the filter, 42.7 ms. Arbitrary phase manipulation has many
typically minimum phase.) Example 4: Mixed-phase FIR filter. applications, including;
A characteristic of a minimum-phase Finally (Figure 5), we have an arbitrary
filter is that its impulse response has phase or mixed-phase FIR filter with the - Phase linearizing a loudspeaker.
larger coefficients at or near the start of same frequency response. The bulk delay (Despite the apparent improvement
the impulse response. Figure 2 shows a through the filter is approximately the in the loudspeaker impulse response,
minimum phase FIR filter that effects a location of the filter peak; here ~1480 there’s some debate as to whether
HP near 100 Hz and some EQ. While the samples or 30.4 ms. Where the peak is this gives a perceptual improvement
FIR filter length is 42.7 millisecond (ms), placed depends on the desired charac- in loudspeaker performance.)
the effective delay is negligible. teristics of the FIR filter and how those - Matching the phase (and magnitude)
Example 2: Linear-phase FIR filter. Fig- characteristics can be achieved within the of loudspeakers within product lines,
ure 3 shows a FIR filter with the same tap length limit; here 2048 taps. and across different models in projects
magnitude response but with a flat or Why do we care about mixed-phase so that they’re easier to tune in clusters
linear phase. The bulk delay through the behavior? So we can push a loudspeaker’s and to array together.
filter is equivalent to the peak location of phase to where we want it! - Manipulating individual loudspeak-
the filter: here 1024 samples or 21.3 ms. Why is independent phase useful? A ers in array processing (for audience
Example 3: Maximum-phase FIR fil- loudspeaker driver can be thought of as overage optimization) and in beam
ter. Figure 4 shows a FIR filter with the a minimum-phase filter (when comparing steering.

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 57

 TECH TOPIC

is one way to create a measurement that

can be used as a starting point for effec-
tive, fine EQ.

FIR FILTERING FOR SUBWOOFERS?

Figure 7 shows an example of using a
FIR filter to both EQ a subwoofer and
unwrap the low-frequency phase (from
the cabinet and the high-pass IIR used
to protect against over-displacement).
Filtering at ver y low frequencies
requires very long filters; here 5000
taps at 48 kHz with an IR peak delay of
Figure 6: On-axis measurements of a 12- 3500 taps, or 72.9ms. (This is simply an
inch, 2-way loudspeaker. At top is frequen-
example of what a FIR filter can do and
cy, with Time=0 aligned to the HF drive
it’s yet to be tested whether the reduction
and so the LF driver is relatively forward in Figure 7: At top, subwoofer frequency
time, resulting in the apparent maximum response before FIR filtering (double in low-frequency group delay improves
phase behavior at the crossover frequency; 18-inch, measurement includes ~30 Hz 18 the perceived sub impact. With such a
next, impulse response (dark green) of dB/oct Butterworth IIR high-pass); next, large delay, it’s probably not useful for
an FIR filter created for the loudspeaker impulse response (dark green) of FIR filter live applications but may be useful in
as well as dB magnitude of the impulse for EQ, phase unwrapping and crossover cinema and home theatre applications.)
response (light green); below that is the LPF; below that, frequency response of FIR
frequency response of FIR filter loudspeak- filter for EQ (both phase unwrapping and DESIGNING & LOADING CUSTOM
er; and finally, the frequency response of crossover LPF, 5000 taps and 3500 sample FIR FILTERS
the FIR filtered loudspeaker. delay; and finally, subwoofer frequency
The growing awareness of the benefits
response with FIR filtering.
and flexibility of FIR filtering in audio,
- Crossover optimization to improve fre- combined with the ever-increasing per-
quency response consistency within Figure 6 offers four plots showing an formance-versus-cost of microprocessors
the coverage angle of a multi-way on-axis measurement of a commercial and DSPs, has resulted in increasing num-
loudspeaker. 12-inch, 2-way loudspeaker and a 2048 bers of audio products with user-accessi-
tap FIR filter created to push the cabinet’s ble FIR filtering blocks. These products
MORE DETAILED EQUALIZATION (& response to have a relatively flat magni- enable loudspeaker designers, installers,
EASIER FILTER CREATION) tude response (with a slight HF roll-off) system operators and DIY’ers to load cus-
Using a loudspeaker measurement, we and flat phase in the pass-band. tom FIR filters.
can create a frequency response (mag- A note about designing EQ from measure- Software tools like FIR Designer from
nitude and phase) that will push the ments and measurement averaging. my company, Eclipse Audio, enable the
loudspeaker towards a desired target Attempting to EQ fine structure and design and simulation of FIR based EQ
response. Because of the inherent rela- ripples in loudspeaker responses can be and mixed IIR+FIR presets/tunings for
tionship between the impulse response problematic. A loudspeaker’s response loudspeakers and systems, from loud-
and frequency response, FIR filter coef- varies with microphone and loudspeaker speaker or system measurements. Com-
ficients can be generated from a desired position, with level and temperature, prehensive measurement averaging
frequency response fairly easily using and even over time. Fine EQ designed functionality for spatial and level aver-
DFT (or FFT) methods. The target from a single measurement might result aging is also included. LSI
response can be anything including: in the loudspeaker sounding better for
the conditions and position of the mea- Michael John is the founder of Eclipse
- Pink noise flat; surement, but is likely to make the loud- Audio, which offers a range of software
- Pink noise flat with slight HF roll-off speaker sound worse at other positions products for equalizing audio systems and
(such as Cinema X-Curve); and at other levels, etc. Great care must creating custom finite impulse response
- Flat (linear) phase; be taken to ensure the measurement is (FIR) filters and complete mixed FIR + IIR
- The magnitude and phase response of relevant and useful under all the con- filter loudspeaker presets for single and
another loudspeaker; ditions the loudspeaker will be used multi-way loudspeakers. Note that all FIR
- The magnitude and phase response in – for example, within the whole of filter examples and plots in this article were
required from ar ray processing the intended coverage area. Averaging generated with FIR Designer. Find out more
calculations. measurements from multiple locations at [Link].

58 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 Real World Gear

PACKING A PUNCH
Recently developed compact digital mixers and
consoles.
by Live Sound Staff

M
any consoles/mixers of the than we ever had in our analog racks. And processing like compression and gating
more compact var iety are many offer increased channel capabilities on each channel. And if you don’t like the
loaded with enough features to by using fader layers and adding stage onboard effects and processing, many
handle larger shows and enough inputs I/O units. Some can even be cascaded models offer the ability to integrate
to serve medium-sized gigs. These units together, allowing desks to conveniently plugins that are crafted to emulate the
often offer most of the bells and whistles increase capabilities or even form a larger operation and results of modern or vin-
of their bigger siblings but with reduced console. tage outboard gear, and they can also be
fader counts, or they may actually be dif- Many of these smaller mixers aren’t used to formulate new creations.
ferent consoles altogether and present a skimping in the routing department With all these capabilities and more,
reduced feature set. either, as many have quite a few mix it’s no wonder that compact consoles are
Even with fewer features they still pack buses and matrix outputs. Even the most a big hit. Enjoy this Real World Gear look
a punch and offer far more processing miniscule units offer multiple effects and at a variety of compact consoles. LSI

QSC TouchMix-30 Pro DiGiCo S31 Lawo mc²36

[Link] [Link] [Link]

Faders: Uses a touch screen with virtual Faders: 31 Faders: 16

faders, 1 control knob Mix Inputs: 48 Flexi (stereo or mono) Mix Inputs: 184
Mix Inputs: 32 Aux/Group: 16 Flexi aux or sub group Aux/Group: 32
Aux/Group: 14 mono can be paired to 7 Matrix: 10 x 8 Matrix: 512 x 512
FX: 8
stereo FX: Up to 192 DSP channels
Mains: LR
FX: 6 DCA: 128
Screen: 3 multi-touch screens
DCA: 8 Mains: LCR, mono, surround
Local I/O: 24 XLR inputs, 12 XLR outputs,
Mains: LR App: mxGUI for Mac and PC
AES I/O
App: TouchMix-30 for IOS and Android Screens: 2 x 21.5-in touch screens
Stage Boxes: D-Rack, D2-Rack, SD-Rack
Screen: 10-inch multi-touch screen Local I/O: 32 XLR mic/line inputs, 32 XLR
Also: 4 assignable DiGiTuBes; integrated
Local I/O: 24 XLR mic/line inputs, 2 main line outputs, 8 AES I/O
USB2 audio I/O interface for recording and
XLR outputs, 14 aux XLR outputs, 2 monitor playback of up to 48 channels; optional Stage Boxes: mc2 Compact
XLR outputs, 6 TRS stereo inputs, 2 TRS Waves integration Also: 3 RAVENNA/AES67 Audio-over-IP
stereo outputs Expansion Slots: 2 DMI (for Dante, MicPre, ports; Waves SoundGrid integration
Physical: 7.5 x 16.9 x 18.1 inches (H x W x D), AMM, ME, etc.) Physical: 16.3 x 31.3 x 34.7 inches (H x W x
17.5 pounds Physical: 11.6 x 40.3 x 23.1 inches (H x W x D) 93.8 pounds
Additional Models: TouchMix-8, Touch- D), 55.1 pounds Additional Models: 24-fader and 40-fader
Mix-16 Additional Models: S21, SD11, SD11i versions

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 59

 REAL WORLD GEAR
RWG Spotlight Listing
Allen & Heath C1500 | [Link]
The C1500 is a lightweight rack-mountable control surface that is fully com-
patible with both dLive C Class and S Class MixRacks. Packed in a diminutive
footprint are 12 faders over 6 layers, built-in audio I/O, audio networking
and word clock ports, and a 12-inch capacitive touch screen.
Utilizing the Harmony UI, the C1500 layout is fully customizable, allowing
for the creation of a mixing interface that reflects the engineer’s own men-
tal map of the show, or for a custom design match to the venue and the
experience levels of operators.
Allen & Heath’s C Class series is driven by a powerful 96 kHz XCVI FPGA
engine and DEEP processing suite in a compact tour-grade format, making
it a great choice for fly dates, bus tours and support slots – wherever the
scale of the audio requirements conflicts with space and weight constraints.
Drew Thornton, FOH engineer for pop artist Billie Eilish,
with the dLive C1500 he utilized for her worldwide tour
fly dates. The tour also had another C1500 for monitors. KEY SPECIFICATIONS:
Faders: 12 faders, 6 layers (72 fader strips)
Mix Inputs: 160 (128 plus 16 stereo FX returns)
with full 96kHz processing
TECHNOLOGY FOCUS: Using next-generation FPGA Aux/Group: 64 mix outputs with full
technology, all dLive systems provide 128 input processing
channels with full processing, a 96 kHz sampling Matrix: User configurable 64 bus architecture
rate, variable bit depth, class-leading <0.7 ms la- FX: 16 stereo | DCA: 24
tency and phase coherence, and virtually infinite Mains: LR, LCR and 5.1 Mains mode
App: dLive Director for macOS and PC. Mix-
mix headroom thanks to a 96-bit accumulator. Pad iOS. OneMix iOS. Custom Control for macOS / PC / iOS / Android
OF NOTE: The C1500 weighs in at under 40 pounds Screen: 12-inch capacitive touch screen with gesture control
Local I/O: (Control Surface) 6 XLR inputs, 6 XLR outputs, 1 stereo AES in,
and is a highly popular choice as a robust and 1 stereo AES out
turnkey flyable rig. The dLive ecosystem provides Stage Boxes: GX4816, DX012, DX32, DX168, DT168 Dante, DX164-W, DT164-W
for ME personal monitoring compatibility, remote Dante, DX Hub
control and I/O expansion as well as network Physical: 19 x 26.2 x 12.8 inches (W X D X H), 39.7 pounds
expansion with Waves, MADI, Dante, and more. Additional Models: C2500, C3500

Avid S3L-X Waves eMotion LV1 PreSonus StudioLive 24 Series III

[Link] [Link] [Link]

Faders: 16 Faders: All Touch-Screen Interface Faders: 25

Mix Inputs: 64 Mix Inputs: 24
Mix Inputs: 64
Aux/Group: 24 Buses: 20
Matrix: 8 Aux/Group: 16 monitor auxes (stereo/
FX: 4
FX: 40 stereo plug-in slots mono), 8 audio groups
DCA: 24
DCA: 8 Matrix: 8 (stereo/mono)
Mains: LR
Mains: LCR/mono
FX: 8 FX auxes App: UC Surface for Mac, Windows and
Screen: XGA monitor
iPad
Local I/O: 2 XLR + 2 TRS, 2 XLR + 2 TRS, plus DCA: 16
Screen: 7-in
4 x 4 x 4 XLR I/O on 2RU E3 engine Mains: L/R/C/Mono
Stage Boxes: VENUE 4RU Stage 16 (16 x 8 Local I/O: 12 XLR in, 12 XLR/TRS combo in,
+ 4D) App: MyMon personal monitor mixing app 11 XLR out, 8 TRS out, 4 TRS in, RCA I/O
Also: 64 x 64 Gigabit AVB to Pro Tools; Screen: 24-inch touch screen Also: Bluetooth input, 55 x 55 AVB and 40 x
2-track USB playback/record 40 USB I/O, built-in multi-track recorder
Local I/O & Stage Boxes: SoundStudio Physical: 7 x 25.6 x 23 inches (H x W x D),
Physical: S3 control surface is 28 x 15 x 3
STG-1608 stagebox, SoundGrid I/O 30 pounds
inches (H x W x D), 14 pounds; E3 engine is
2RU x 15 inches, 21 pounds; Stage 16 I/O is Additional Models: eMotion LV1 Proton Additional Models: StudioLive 32, Studi-
4RU x 8 inches, 16 pounds 16-channel mix system oLive 16

60 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 Yamaha QL5
Ashly Audio digiMIX18 Mackie Axis (DL32R rack-mount
[Link]
[Link] mixer & DC16 surface)
[Link]
Fader: 1 (Assignable to 18 inputs, 8 AUX, 6 Faders: 34
DCA, 2 FX and main) Mix Inputs: 72 Faders: 17
Mix Inputs: 18 (16 mic/line, 2 stereo line) Aux/Group: 16 Mix Inputs: 32 | Aux/Group: 14
Aux: 8 | DCA: 6 | FX: 2 stereo engines Matrix: 8 Matrix: 6 | FX: 3 | DCA: 6 | Mains: LR
Mains: L/R, control room outputs FX: 8 FX + 8 premium App: Master Fader app for IOS
App: Ashly digiMIX18, free for Apple iPad DCA: 16 Screen: DC16 includes color backlit TFT
Screen: 7-inch LCD touchscreen Mains: L/R, L/R/C, 5.1 surround screens; system uses iPads (not included)
Rack-mount: Yes (ships with rack-rails) App: QL StageMix for iPad for additional visual information
Local I/O: 16 Neutrik combo jack mic/line Screen: 10-inch color touch screen Local I/O: 32 XLR mic/line inputs, 14 XLR
inputs, TRS inserts on channels 1-8, 2 TRS outputs, stereo AES output
Local I/O: 32 XLR mic/line inputs, 16 XLR
line inputs, XLR and TRS main outputs, 8 Also: 32 x 32 direct to disk recording and
outputs, stereo AES
TRS aux outputs, L/R TRS control room playback; 32 x 32 to Mac and PC; supports
Stage Boxes: Rio3224-D, Rio1608-D, Ri8-D,
outputs, front/rear headphone outputs, up to 20 IOS devices controlling mains or
Ro8-D
Ethernet and USB ports monitors
Also: Dugan Automix; 62 x 62 Dante interface Expansion Slot: 1
Expansion Slots: One (Dante and USB
18-channel option cards) Expansion Slots: 2 Physical: DL32R – 5.4 x 19 x 17.5 inches, 18
Physical: 19 x 14.5 x 5.5 inches (H x W x D), Physical: 33 x 23 x 11 inches, 48 pounds pounds; DC16 – 3.3 x 36.8 x 17.6 inches, 38
17.4 pounds Additional Model: QL1 and CL Series (CL1, pounds (both measurements H x W x D)
Additional Model: digiMIX24 CL3, CL5) Additional Models: DL1608, DL806

Soundcraft Vi1000
[Link]

Faders: 20
Mix Inputs: 96
Aux/Group: 24 mono/stereo
Matrix: 16 mono/stereo
FX: 4
DCA: 16
Mains: LCR
App: VISI IOS
Screen: Vistonics II
Local I/O: 16 XLR I/O, 2 pairs AES/EBU I/O,
2 Dante
Stage Boxes: Mini, Compact, VI Series
Expansion Slots: 2
Also: Automatic mic mixing; FaderGlow;
can act as remote for larger consoles
Physical: 13.8 x 31.6 x 33.2 inches (H x W x
D), 55 pounds
Additional Models: VI1000, VI2000, VI3000,
VI5000, VI7000

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 61

 REAL WORLD GEAR
RWG Spotlight Listing
Allen & Heath Avantis | [Link]
The third mixer based on their 96 kHz XCVI FPGA engine, Allen & Heath’s Avantis puts
next-generation technology in a 64-channel/42-configurable-bus console, with dual full HD
touchscreens, a flexible workflow with Continuity UI, extensive I/O options, and a rugged
full metal chassis. Avantis dPack
adds internal dLive processing
KEY SPECIFICATIONS:
without burning FX slots, 3rd-party
Faders: 24 faders,
gear hassles or issues with latency
6 layers (144 fader
or phase coherency. strips)
Continuity UI allows engineers Mix Inputs: 88 (64
to see and instantly interact with plus 12 stereo FX
more of what matters, enabling a returns) with full
206 square inches of screen space, with 96kHz processing
seamless connection between the Aux/Group: 42 mix
each screen offering a FastGrab tab that
physical controls and the displays. outputs with full
provides split-second access to key free-
The faders react on touch to imme- processing
ly assignable parameters like aux sends, Matrix: User configurable 42 bus architecture
diately highlight the active channels
EQ, compressor and FX on the currently FX: 12 Stereo (dPack option adds DEEP / Dyn
for instant visual feedback. Inspired processing) | DCA: 16
selected or specific channel.
by the tubular exoskeletons of the Mains: LR, LR + Mono Sum, LR + M, LCR
latest generation of superbikes, those sleek curves are all metal – super tough Also: 2 x 128 x 128 96kHz option slots, 64 chan-
but lightweight. nels of Automatic Mic Mixing (AMM)
Screen: 2 x 15.6-inch Full HD capacitive touch
screens with gesture control
TECHNOLOGY FOCUS: In addition to DEEP emulations, Avantis dPack also Local I/O: 12 XLR inputs, 12 XLR outputs, 1
delivers Dyn8, a powerful processor boasting 4 bands of dynamic EQ and stereo AES in, 2 stereo AES out
4 bands of multiband compression. Handy for adding sonic glue to a mix, Stage Boxes: GX4816, DX012, DX32, DX168,
dPack enables 16 Dyn8 engines for inserting on Input and Mix channels. DT168 Dante, DX164-W, DT164-W Dante, DX
Hub, AR2412, AB168, AR84; also fully compat-
OF NOTE: The SLink connection on Avantis allows unmatched flexibility by ible with all dLive I/O cards (including 96kHz
connecting to the entire range of Allen & Heath audio expander hardware Dante 128x128, Waves, etc.), IP controllers, and
(including AB/AR 48kHz stage boxes with sample rate conversion). Add a ME Personal Monitoring.
Dante card for even more networked system options with dedicated Dante Physical: 36.1 x 24.7 x 10.6 inches (W X D X H),
expanders like the DT168 and DT164-W. 57.4 pounds

Midas M32R Yamaha CL5 SSL Live. L100

[Link] [Link] [Link]

Faders: 16 + 8 + 8 + 2 Faders: 12 + 2
Faders: 25
Mix Inputs: 96 mix paths (inputs or out-
Mix Inputs: 40 Mix Inputs: 72 mono + 8 stereo
puts)
Aux/Group: 16 Aux/Group: 24
Aux/Group: 96 paths (inputs or outputs)
FX: 8 Matrix: 8 matrices (input to matrix sup- Matrix: 4 x 32 In/12 Out | FX: 24 | DCA: 12
ported) (VCA)
DCA: 8
FX: 8 racks, 54 programs Mains: Mono, Stereo, LCR, 4.0, 5.1
Mains: LCR
DCA: 16 App: TaCo for IOS or Android
App: M32-Mix IOS Screen: 17-in multi-gesture
Mains: LR/M
Screen: 7-in App: CL StageMix (iPad), MonitorMix Local I/O: 12 Mic/Line In, 12 XLR Out, 2
Local I/O: 32 XLR In, 16 XLR Out, AES/EBU Talkback, 3.5 mm In, 2 Headphone Out, 4
Screen: 10-inch touch panel
Out, AES 50, UntraNet I/O, 12 TRS I/O, RCA AES/EBU I/O, 4 MADI Ports (coax/optical), 1
Local I/O: 8 XLR inputs, 8 XLR outputs,
I/O MADI FX Loop, Dante
Dante I/O, 1 AES out
Stage Boxes: DL16, DL32 Stage Boxes: SB8.8, SBi16, SB 32.24
Stage Boxes: Rio3224-D, Rio1608-D, Also: Remote Tile 12-fader extension,
Also: 32x32 USB I/O, 500 internal show RSio64-D and RMio64-D I/O racks; Ri8-D external monitor available stem groups
automation structured cues input rack and Ro8-D output rack Expansion Slots: 2
Expansion Slots: 1 Physical: 41.5 x 26.2 x 11.8 inches (W X D X Physical: 27.2 inches wide (height, depth
Physical: 10.1 x 25.1 x 24.1 inches (H x W x H), 63.9 pounds N/A), 115 pounds
D), 55 pounds Additional Models: CL1, CL3 Additional Models: L200, L300, L500

62 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 RWG Spotlight Listing

Yamaha Pro Audio TF5 | [Link]

The TF5 offers intuitive
operation, advanced
features and renowned
Yamaha reliability, pro-
viding engineers free rein
of their mix. TouchFlow
Operation allows users
to respond to the music KEY SPECIFICATIONS:
and artists on stage with
Faders: 33
unprecedented speed
Mix Inputs: 48 input channels
and freedom via an inter-
face optimized for touch Aux/Group: 20 | FX: 8
panel control. DCA: 8 | Matrix: 4
The physical Touch & Turn knob is available right beside the touch panel. There Mains: L/R
are also four User Defined knobs below the panel that can be assigned to control APP: TF Editor for Mac and PC, TF
almost any parameter you need fast, direct access to while mixing. StageMix for iPad, TF MonitorMix for
In live situations with musical instruments, QuickPro presets can be searched IOS
by instrument type and recalled quickly and easily. Screen: Color multi-touch
Local I/O: 32 XLR mic/line inputs, 2
analog RCA stereo line inputs, 16 XLR
TECHNOLOGY FOCUS: Three dedicated apps – TF Editor for Mac or PC on and outputs
offline control, TF StageMix offering iPad control, and TF MonitorMix – further Stage Boxes: TIO 1608-D
enhance usability. Since up to three devices running TF Editor or StageMix and
up to 10 devices running MonitorMix can be connected at the same time, even Also: 34 x 34 digital record/playback
large bands can have the personal control they need, reducing demands on the channels via USB 2.0 + 2 x 2 via a USB
engineer. storage device; Quick Pro presets
Expansion Slot: 1
OF NOTE: Firmware update V4.0 adds a selected channel view that provides ac-
cess to the main parameters for the currently selected input channel in a single Physical: 8.9 x 34.1 x 23.6 inches, 44.1
display. Support for DZR-D and DXS-XLF-D Series loudspeakers has been expand- pounds
ed with loudspeaker amp mute control directly from the mixer display. Additional Models: TF-Rack, TF1, TF3

Allen & Heath SQ-5 Roland Pro AV M5000C Behringer X32 Compact
[Link] [Link] [Link]

Faders: 17 Faders: 20 Faders: 17

Mix Inputs: 56 (48 plus 8 stereo FX returns) Mix Inputs, Aux Group Matrix: Up to 128 Mix Inputs: 40
with full 96kHz processing audio paths configurable as mono or 64 Aux/Group: 16
stereo | FX: 8 | DCA: 24 Matrix: 6 | FX: Virtual FX rack | DCA: 8
Aux/Group: 12 stereo mix (aux or group)
Mains: L/R, L/R/C and 5.1 surround Mains: LCR | App: X32 Edit for PC or Mac,
+ main
App: M-5000 Remote iPad app, M-5000 X32 Mix for iPad , X32 Q personal monitor
Matrix: 3 | FX: 8
Remote Control software for Mac and PC mix for iPhone and Android
DCA: 8 | Mains: LR
Screen: 12-in color touch screen Screen: 7-in color TFT
App: SQ MixPad for macOS / PC / iOS / Local I/O: 16 XLR mic/line inputs, 8 XLR Local I/O: 16 XLR inputs, 8 XLR outputs, 6
Android. SQ4You for iOS and Android outputs, 2 stereo AES I/O line in/outputs, AES out
Screen: 7-in capacitive touch screen Stage Boxes: S-4000S, S-2416, S-1608, Stage Boxes: S16, S32, SD16 and SD8
Local I/O: 16 XLR inputs, 2 stereo TRS S-0818, S-0808 Also: P-16 personal monitoring system
inputs, 12 XLR outputs, 2 TRS out, stereo Also: The 128 audio paths are configurable connectivity; 32 x 32 USB interface; DAW
AES out as inputs, outputs, or buses; integrates remote control
Stage Boxes: GX4816, DX012, DX32, DX168, with Waves SoundGrid and the company’s Expansion Slot: 1, pre-installed X-USB
DT168 Dante, DX164-W, DT164-W Dante, DX M-48 personal monitoring system; 16 x 16 card, optional USB/Firewire, MADI, Dante
Hub, AR2412, AB168, AR84. USB audio interface for DAW and ADAT | Physical: 8.5 x 20 x 24.6 inches
Physical: 17.3 x 20.3 x 7.8 inches (W X D X Expansion Slots: 2 | Physical: 13.6 x 29.1 x (H x W x D), 34 pounds
H), 23.1 pounds 28.5 inches (H x W x D), 70 pounds Additional Models: X32, X32 Producer, X32
Additional Models: SQ-6, SQ-7 Additional Models: M300, M200i Rack

[Link] JANUARY 2020 LIVE SOUND INTERNATIONAL 63

 Back Page

SHOWING THE WAY

The power of and tell every war story, we’re
probably better off being
positive thinking mentors and helping guide
the new generation to learn
(and acting). on their own, as we once did,
but differently. There’s still
by Karl Winkler nothing like hands-on expe-
rience even if we can’t “touch
the knobs” in the same way

A
s I move along in my position in we once did.
life, philosophical questions and As these younger folks
thoughts keep coming. For one start driving the bus, we
thing, I wonder about whether or not to must be there to make sure
become a curmudgeon, you know, rem- they don’t take us over the
iniscing about “back in the day” when cliff. This is where our experience counts, If we could’ve had delays on every input
equipment was real, when the challenges since we’ve “been there and done it before back in the day, wouldn’t we have wanted
we faced became rites of passage. and have the T-shirt to prove it,” but it them? What about unlimited DSP power?
But the question that’s been on my doesn’t mean we have all the answers, Or light weight, small and great-sounding
mind lately is “Do difficulties or chal- maybe only some scars to show for it. consoles? I know I would have wanted all
lenges mean something was inherently What we can and should teach is respect that and more, and now it exists! Even bet-
good?” In other words, it was more diffi- for the craft. Clearly, we’re in market that’s ter, the people coming up in the business
cult to move and set up systems 20 years fairly small as “industries” go. In many today are the ones who will dream up the
ago than today, but does that mean it was ways, we’re more like an extended family. next generation of technology.
somehow better? People come to pro audio not necessar- I’m inspired by many of the young pro-
One argument might be that we had ily to make money (there are other ways fessionals I meet now, and because of them,
to learn basic skills in order to even get to make more money more quickly), but I know our craft will be in good hands.
a system working at all. Amplifiers and because they love something about all this. People like Michael Lawrence, Willa Snow,
loudspeakers were separate units, connec- They love sound, they love the gear, they Nathan Lively and Nicholas Radina, just to
tions were analog, and arrays were more love music, they love the thrill of the show. name four, are all doing good work, writing
complicated to configure. These taught a What they don’t yet know (because how articles, and developing their network of
generation of professionals in a way that could they) is how much work it takes to friends and associates within our chosen
might not be possible any longer. get really good at it. Just as with any meld- business. There are hundreds more like
On the other side, however, is that by ing of technique and art (like photography, them. Our job as “tribal elders” now should
removing some of the more laborious architecture, playing music), getting great be to provide them with guidance, employ-
aspects, we open up our industry to a at audio can take decades of work and ment, a confidential ear when needed, and
new generation of talent that does not dedication. And practice, lots of it. And a friendly word of encouragement.
– and perhaps even should not – have to failure. The only way to make it through The most prevalent thought occurring to
worry about those things. It’s imperative all that is to love what we do and maintain me lately is, “If we ever wished for someone
that we attract younger folks to industry, the flame of desire to get even better, no to show us how to do something, or to say
with new ideas and potentially innovative matter what obstacles lie in our pathway. something encouraging, or to provide help,
ways of working. Of course, they should So, we’ve earned the right to be the now is our chance to do that for others.” A
pay due respect to those that have gone ones telling endless war stories and wish- word of encouragement goes a long way. It
before, but without necessarily learning ing for the days when “things were as feels incredibly good to both parties, and
everything the hard way like we did. good as they were going to get,” and take it’s basically free. How many other things
For those of us approaching the final satisfaction in knowing that not everyone in life can you say that about? LSI
chapter of our careers, our roles are chang- could do what we did. And at the same
ing. We’re not in the “gaining ground” time, we can relish seeing the technology Karl Winkler serves as vice president of
stage any longer. Instead of being the ones we once dreamed about become standard sales/service at Lectrosonics and has worked
to make every decision, have every idea, on modern equipment. in professional audio for more than 25 years.

64 LIVE SOUND INTERNATIONAL JANUARY 2020 [Link]

 Power Trio. (Bass power, that is.)

KS118
Commanding and Powerful

KS212C
KS112 Directional
Ultra-Portable
6116-2019-09-2019

Introducing the K Subwoofer Series.

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All 100% genuine QSC performance, quality and reliability.
Which subwoofer is right for your application? Find out at [Link]/ks.

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*3 year standard; 6 years with product registration. ©2019 QSC, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC, LLC in the U.S. Patent and Trademark Office and other countries. PLAY OUT LOUD is a trademark of QSC, LLC.